User:Modernist/work II

Lenore Jaffee was born in New York City in 1925-2022, and was an American artist, painter and poet. During the 1940s she attended the Art Students League of New York where she studied with Will Barnet among others. Jaffee began to exhibit her Abstract expressionist paintings during the late 1950s and 1960s in New York City and Provincetown, Massachusetts.^[1] During the late 1950s and the early 1960s she showed her work at the Phoenix Gallery in New York. ^[2] The Phoenix was a prominent gallery among the 10th Street galleries in New York City and it was an avant-garde alternative to the Madison Avenue and 57th Street galleries that were both conservative and highly selective. During the 1970s Le Jaf's video work was exhibited at the Hundred Acres Gallery in New York City.^[3] Among other works she has published several volumes of poetry.

This article about a painter from the United States is a stub. You can help Wikipedia by adding missing information.

[1]
Beat MuseumRetrieved June 20, 2010
[2]
Retrieved June 20, 2010
[3]
Smithsonian Archives of American ArtRetrieved June 20, 2010

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L J was born in New York City in 1925 and is an American artist. During the 1940s she attended the Art Students League of New York. J began to exhibit her Abstract expressionist paintings during the 1950s and 1960s in New York City and Provincetown, Massachusetts.^[1] During the late 1950s and the early 1960s she showed her work at the Phoenix Gallery in New York. ^[2] The Phoenix was a prominent gallery among the 10th Street galleries in New York City and it was an avant-garde alternative to the Madison Avenue and 57th Street galleries that were both conservative and highly selective. During the 1970s LJ's work was exhibited at the Hundred Acres Gallery in New York City.^[3] MALE MODERN ART NASTY LIMERICKS L J SIGNED, {{US-painter-stub

References

Random thoughts

Hypocrisy, double standards, Law, Peter Demian, Pastor Theo, Beta, Ecoleetage, personal attacks, gaming the system, rules apply to you but not to me, I do what I want, it's only a website...Modernist (talk) 15:19, 30 September 2009 (UTC) ($293,063 in current dollar terms)

Rococco

Rococo developed first in the decorative arts and interior design in France. Louis XV's succession brought a change in the court artists and general artistic fashion. By the end of the old king's reign, rich Baroque designs were giving way to lighter elements with more curves and natural patterns. The 1730s represented the height of Rococo development in France. The style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. Rococo still maintained the Baroque taste for complex forms and intricate patterns, but by this point, it had begun to integrate a variety of diverse characteristics, including a taste for Oriental designs and asymmetric compositions.

The Rococo style spread with French artists and engraved publications. It was readily received in the Catholic parts of Germany, Bohemia, and Austria, where it was merged with the lively German Baroque traditions. German Rococo was applied with enthusiasm to churches and palaces, particularly in the south, while Frederician Rococo developed in the Kingdom of Prussia.

William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty (1753) that the undulating lines and S-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the straight line or the circle in Classicism). The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality and degeneracy of the art. Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order and seriousness of Neoclassical artists like Jacques Louis David.

Baroque and Rococo

Baroque painting is associated with the Baroque cultural movement, a movement often identified with Absolutism and the Counter Reformation or Catholic Revival;^[1]^[2] the existence of important Baroque painting in non-absolutist and Protestant states also, however, underscores it's popularity, as the style spread throughout Western Europe.^[3]

Baroque painting is characterized by great drama, rich, deep color, and intense light and dark shadows. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. During the period beginning around 1600 and continuing throughout the 17th century, painting is characterized as Baroque. Among the greatest painters of the Baroque are Caravaggio, Rembrandt, Frans Hals, Rubens, Velázquez, Poussin, and Jan Vermeer. Caravaggio is an heir of the humanist painting of the High Renaissance. His realistic approach to the human figure, painted directly from life and dramatically spotlit against a dark background, shocked his contemporaries and opened a new chapter in the history of painting. Baroque painting often dramatizes scenes using light effects; this can be seen in works by Rembrandt, Vermeer, Le Nain and La Tour.

During the 18th century, Rococo followed as a lighter extension of Baroque, often frivolous and erotic. Rococo developed first in the decorative arts and interior design in France. Louis XV's succession brought a change in the court artists and general artistic fashion. The 1730s represented the height of Rococo development in France exemplified by the works of Antoine Watteau and François Boucher. Rococo still maintained the Baroque taste for complex forms and intricate patterns, but by this point, it had begun to integrate a variety of diverse characteristics, including a taste for Oriental designs and asymmetric compositions.

The Rococo style was spread with French artists and engraved publications. It was readily received in the Catholic parts of Germany, Bohemia, and Austria, where it was merged with the lively German Baroque traditions. German Rococo was applied with enthusiasm to churches and palaces, particularly in the south, while Frederician Rococo developed in the Kingdom of Prussia.

The French masters Watteau, Boucher and Fragonard represent the style, as do Giovanni Battista Tiepolo and Jean-Baptiste-Siméon Chardin who was considered by some as the best French painter of the 18th century - the Anti-Rococo. Portraiture was an important component of painting in all countries, but especially in England, where the leaders were William Hogarth, in a blunt realist style, and Maurice Quentin de La Tour, Élisabeth Vigée-Lebrun, Thomas Gainsborough and Joshua Reynolds in more flattering styles influenced by Antony Van Dyck.

William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty (1753) that the undulating lines and S-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the straight line or the circle in Classicism). The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality and degeneracy of the art. Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order and seriousness of Neoclassical artists like Jacques Louis David.

19th century: Neo-classicism, Romanticism, Impressionism, Post Impressionism

After the decadence of Rococo there arose in the late 18th century an ascetic neo-classicism, best represented by such artists as Jacques Louis David and his heir Jean Auguste Dominique Ingres. Ingres' work already contains much of the sensuality, but none of the spontaneity, that was to characterize Romanticism. This movement turned its attention toward landscape and nature as well as the human figure and the supremacy of natural order above mankind's will. There is a pantheist philosophy (see Spinoza and Hegel) within this conception that opposes Enlightenment ideals by seeing mankind's destiny in a more tragic or pessimistic light. The idea that human beings are not above the forces of Nature is in contradiction to Ancient Greek and Renaissance ideals where mankind was above all things and owned his fate. This thinking led romantic artists to depict the sublime, ruined churches, shipwrecks, massacres and madness.

Romantic painters turned landscape painting into a major genre, considered until then as a minor genre or as a decorative background for figure compositions. Some of the major painters of this period are Eugène Delacroix, Théodore Géricault, J. M. W. Turner, Caspar David Friedrich and John Constable. Francisco de Goya's late work demonstrates the Romantic interest in the irrational, while the work of Arnold Böcklin evokes mystery. In the United States the Romantic tradition of landscape painting was known as the Hudson River School. Important painters of that school include Thomas Cole, Frederic Edwin Church, Albert Bierstadt, Thomas Moran, and John Frederick Kensett among others. Luminism was another important movement in American landscape painting related to the Hudson River School.

Impressionism began in France. It had a world-wide impact, especially in the United States, where it became integral to the painting of American Impressionists such as Childe Hassam, John Twachtman, and Theodore Robinson. It also exerted influence on painters who were not primarily impressionistic in theory, like the portrait and landscape painter John Singer Sargent. At the same time in America at the turn of the century there existed a native and nearly insular realism, as richly embodied in the figurative work of Thomas Eakins, the Ashcan School, and the landscapes and seascapes of Winslow Homer, all of whose paintings were deeply invested in the solidity of natural forms. The visionary landscape, a motive largely dependent on the ambiguity of the nocturne, found its advocates in Albert Pinkham Ryder and Ralph Blakelock.

The leading Barbizon School painter Camille Corot painted sometimes as a romantic, sometimes as a Realist who looks ahead to Impressionism. A major force in the turn towards Realism at mid-century was Gustave Courbet. In the latter third of the century Impressionists like Édouard Manet, Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley, and Edgar Degas and the slightly younger post-Impressionists like Vincent van Gogh, Paul Gauguin, and Georges Seurat, along with Paul Cézanne lead art up to the edge of modernism.

In the late 19th century there also were several, rather dissimilar, groups of Symbolist painters whose works resonated with younger artists of the 20th century, especially with the Fauvists and the Surrealists. Among them were Gustave Moreau, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Arnold Böcklin, Edvard Munch, Félicien Rops, and Jan Toorop, and Gustave Klimt amongst others.

references

Guide to referencing

Old thing

Sticking to your guns

		The Original Barnstar
		for having the courage of your convictions

Modernist 16:40, 2 May 2007 (UTC)

old lede

Vincent Willem van Gogh (/ˌvæn ˈɡoʊ/ van-GOH or UK: /ˌvæn ˈɡɒx/;^{[note 1]} Dutch: [faŋˈxɔx] ^ⓘ; 30 March 1853 – 29 July 1890) was a Dutch post-Impressionist painter whose work had a far-reaching influence on 20th century art for its vivid colors and emotional impact. He suffered from anxiety and increasingly frequent bouts of mental illness throughout his life and died, largely unknown, at the age of 37 from a self-inflicted gunshot wound.

Little appreciated during his lifetime, his fame grew in the years after his death. Today, he is widely regarded as one of history's greatest painters and an important contributor to the foundations of modern art. Van Gogh did not begin painting until his late twenties, and most of his best-known works were produced during his final two years. He produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings and sketches. Today many of his pieces—including his numerous self portraits, landscapes, portraits and sunflowers—are among the world's most recognizable and expensive works of art.

Van Gogh spent his early adulthood working for a firm of art dealers and traveled between The Hague, London and Paris, after which he taught in England. An early vocational aspiration was to become a pastor, and from 1879 he worked as a missionary in a mining region in Belgium. During this time he began to sketch people from the local community, and in 1885 painted his first major work The Potato Eaters. His palette at the time consisted mainly of somber earth tones and showed no sign of the vivid coloration that distinguished his later work. In March 1886, he moved to Paris and discovered the French Impressionists. Later he moved to the south of France and was taken by the strong sunlight he found there. His work grew brighter in color and he developed the unique and highly recognizable style which became fully realized during his stay in Arles in 1888.

The extent to which his mental illness affected his painting has been a subject of speculation since his death. Despite a widespread tendency to romanticise his ill health, modern critics see an artist deeply frustrated by the inactivity and incoherence brought about by his bouts of sickness. According to art critic Robert Hughes, Van Gogh's late works show an artist at the height of his ability, completely in control and "longing for concision and grace".^[2]

Gallery

Still-Life with Straw Hat and Pipe, c.1881-1885, Kröller-Müller Museum. Characterized by smooth, meticulous brushwork and fine shading of colors, exhibiting a rare technical mastery. ^[8]
Eugène Boch, (The Poet Against a Starry Sky), 1888, Musée d'Orsay, Paris. Dodge MacKnight introduced Vincent to Eugène Boch, a Belgian painter who stayed at times in Fontvieille (they exchanged visits in July). Eugène's sister Anna Boch, also an artist bought one of Vincents paintings.^[9]^[10]
The Langlois Bridge, 1888. More or less a self-taught artist, Van Gogh's painting and drawing techniques are all but academic. Recent research has shown that works commonly known as "oil paitings" or "drawings" would better be called executed in "mixed-media", for example The Langlois Bridge still shows the highly elaborate underdrawing in pen and ink,^[11] and several works from Saint-Rémy and Auvers hitherto considered to be drawings or watercolours turnt out to be painted in diluted oil and with a brush.^[12]
Patch of Grass, 1887. Radiographical examination has shown that Van Gogh re-used older canvases to a much further extend than previously assumed - whether he really overpainted more than a third of his output, as presumed recently, will simply be verifiable by further investigations. In 2008, a team from Delft University of Technology and the University of Antwerp used advanced X-ray techniques to create a clear image of a woman's face previously painted, underneath the work Patch of Grass.^[13]^[14]
Almond Blossoms, 1890. In February 1890 soon after the birth of his nephew Vincent Willem, the son of Theo and Johanna, Vincent wrote in a letter to his mother: I started right away to make a picture for him, to hang in their bedroom, big branches of white almond blossom against a blue sky. ^[15]
Skull of a Skeleton with Burning Cigarette, oil on canvas, 1885. Is this an act of sarcasm, defiance or fear or an example of Surrealism before its time? ^[16]
The Blooming Plumtree (after Hiroshige), (1887) Van Gogh Museum. The Blooming Plumtree (after Hiroshige), is a strong example of Vincent's admiration of the Japanese ukiyo-e woodblock prints that he collected. His version is slightly bolder than the original.^[17]
Portrait of Père Tanguy, (1887), Musée Rodin. Vincent collected hundreds of Japanese prints and they can often be seen in the backgrounds of several of his paintings. In his 1887 Portrait of Père Tanguy several prints can be seen hanging on the wall behind the figure.^[18]
Cherry Tree, (1888), Metropolitan Museum of Art New York City. About The Cherry Tree Vincent wrote to Theo on April 21, 1888 and said he had 10 orchards and: one big (painting) of a cherry tree which I've spoiled.^[19]
Van Gogh's Chair (1888), National Gallery London. When Gauguin consented to work and live in Arles side-by-side with Vincent, he started to work on the The Décoration for the Yellow House, probably the most ambitious effort he ever undertook.^[20] Vincent did two chair paintings the other entitled Gauguin's Chair.^[21]
The Old Mill, (1888), Albright-Knox Art Gallery. One of seven canvases sent to Pont-Aven on October 4, 1888 as exchange of work with Paul Gauguin, Emile Bernard, Charles Laval, and others.^[22]^[23]
The Sower, (1888), Kröller-Müller Museum. In Saint Rémy Van Gogh painted interpretations of Millet's paintings, like The Sower as well as his own earlier work. Vincent was an admirer of Millet and he compares a painter's making copies to a musician's interpreting Beethoven.^[24]^[25]
Road with Cypress and Star, May 1890, Kröller-Müller Museum. Art historian Ronald Pickvance wrote: the painting Road with Cypress and Star represents an exalted experience of reality, a conflation of North and South, what both van Gogh and Gauguin referred to as an "abstraction".^[26]
Wheat Field with Cypresses, (1889), National Gallery, London. During the summer of 1889 honoring his sister Wil's request Vincent made several smaller versions of this painting.^[27]
View of Arles, Flowering Orchards (1889). In the spring of 1889 he painted another smaller group of orchards. In an April letter about them to Theo he said: I have 6 studies of spring, two of them large orchards. There is little time because these effects are so short-lived.^[28]
Olive Trees with the Alpilles in the Background, (1889), Museum of Modern Art, New York City. Referring to Olive Trees with the Alpilles in the Background, on or around June 18, 1889, in a letter to Theo, Vincent wrote: At last I have a landscape with olives and also a new study of a Starry Night.^[29]
The Round of the Prisoners, (1890). Painted after an engraving by Gustave Doré (1832-1883), in his book London. The face of the prisoner in the center of the painting and looking toward the viewer is Vincent.^[30]
Daubigny's Garden, July 1890, Auvers, Kunstmuseum Basel Basel. Barbizon painter Charles Daubigny moved to Auvers in 1861. Pictorially he put Auvers on the map, attracting artists Camille Corot and Honoré Daumier among others, and in 1890 Vincent van Gogh. Vincent made a second version of Daubigny's Garden in July 1890, and they are among his final works.^[31]

Frida Kahlo fan site with biography, paintings, and photos
Range Contributions
wikistalk

1819-23
Spanish: Saturno devorando a su hijo
[Saturn Devouring His Son] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Átropos/Las Parcas
[Atropos (The Fates)] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: El Gran Cabrón/Aquelarre
[Witches' Sabbath] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Duelo a garrotazos
[Fight with Cudgels] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Dos viejos comiendo sopa
[Two Old Men Eating Soup] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Vision fantástica/Asmodea
[Fantastic Vision or Asmodeas] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: La romería de San Isidro
[A Pilgrimage to San Isidro] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: El perro
[The Dog] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Dos viejos/Un viejo y un fraile
[Two Old Men] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Hombres leyendo
[Men Reading] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Judith y Holofernes
[Judith and Holofernes] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Mujeres riendo
[Women Laughing] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Peregrinación a la fuente de San Isidro/Procesión del Santo Oficio
[Procession of the Holy Office] Error: {{Langx}}: text has italic markup (help)
1819-23
Spanish: Una manola/La Leocadia
[Leocadia] Error: {{Langx}}: text has italic markup (help)
Spanish: Cabezas en un paisaje) (Stanley Moss collection, New York). Possibly the fifteenth Black Painting

Saturno devorando a su hijo, Saturn Devouring His Son, 1819-1823
Átropos/Las Parcas, Atropos (The Fates), 1819-1823
El Gran Cabrón/Aquelarre, Witches' Sabbath, 1819-1823
Duelo a garrotazos, Fight with Cudgels, 1819-1823
Dos viejos comiendo sopa, Two Old Men Eating Soup, 1819-1823
Vision fantástica/Asmodea, Fantastic Vision, 1819-1823
La romería de San Isidro, A Pilgrimage to San Isidro, 1819-1823
El perro, The Dog, 1819-1823
Dos viejos/Un viejo y un fraile, Two Old Men, 1819-1823
Hombres leyendo, Men Reading, 1819-1823
Judith y Holofernes, Judith and Holofernes, 1819-1823
Mujeres riendo, Women Laughing, 1819-1823
Peregrinación a la fuente de San Isidro/Procesión del Santo Oficio, Procession of the Holy Office, 1819-1823
Una manola/La Leocadia, Leocadia, 1819-1823

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Lenore Jaffee was born in New York City on November 30, 1925, and she died on November 8, 2022. She was an American artist, painter and poet. During the 1940s she attended the Art Students League of New York where she studied with Will Barnet among others. Jaffee began to exhibit her Abstract expressionist paintings during the late 1950s and 1960s in New York City and Provincetown, Massachusetts.^[32] During the late 1950s and the early 1960s she showed her work at the Phoenix Gallery in New York. ^[33] The Phoenix was a prominent gallery among the 10th Street galleries in New York City and it was an avant-garde alternative to the Madison Avenue and 57th Street galleries that were both conservative and highly selective. ^[34] During the 1970s Lenore Jaffee's video work was exhibited at the Hundred Acres Gallery in New York City.^[35] Among other works she has published several volumes of poetry. ^[36]

link

[1]
Reference details go here
[2]
Hughes (1990), 144
[3]
Tralbaut (1981), p.216
[4]
Ronald Pickvance, Van Gogh In Arles, pp. 38-39 , Exhibition catalog, Published: Metropolitan Museum of Art 1984, ISBN 0-87099-375-5
[5]
Ronald Pickvance, Van Gogh In Arles, pp. 102-103, Exhibition catalog, Published: Metropolitan Museum of Art 1984, ISBN 0-87099-375-5
[6]
Ronald Pickvance, Van Gogh In Arles, The Yellow House pp. 175-176, Exhibition catalog, Published: Metropolitan Museum of Art 1984, ISBN 0-87099-375-5
[7]
Tralbaut (1981), p.286
[8]
Hulsker (1980) 196-205
[9]
Hulsker (1980), 356
[10]
Pickvance (1984), 168-169;206
[11]
Schaefer, von Saint-George & Lewerentz (2008), pp. 105-110
[12]
See Ives, Stein & alt. (2005)
[13]
Struik, Tineke van der, ed. Casciato Paul, "Hidden Van Gogh revealed in color by scientists", Reuters, 30 July 2008. Retrieved 3 August 2008.
[14]
"'Hidden' Van Gogh painting revealed", Delft University of Technology, 30 July 2008. Retrieved 3 August 2008. A photo on this site shows the revealed older image under the new painting.
[15]
Tralbaut (1981), p.293
[16]
Tralbaut (1981), p.176
[17]
Tralbaut (1981), 216
[18]
Pickvance (1984), 38-39
[19]
Pickvance (1984), 45-53
[20]
[21]
Pickvance (1984), 234-235
[22]
[23]
Seeing Feelings. Buffalo Fine Arts Academy. Retrieved June 26, 2009
[24]
Pickvance (1984), 102-103
[25]
Pickvance (1986), 154-157
[26]
Pickvance (1986), 189-191
[27]
Ronald Pickvance, Van Gogh In Saint-Remy and Auvers. 132-133. Exhibition catalog. Metropolitan Museum of Art, 1986. ISBN 0-87099-477-8
[28]
Hulsker (1980), 385
[29]
Pickvance (1986), 101
[30]
[31]
Pickvance (1986), 272-273
[32]
Beat MuseumRetrieved June 20, 2010
[33]
Retrieved June 20, 2010
[34]
The Beat Scene, photographs by Fred McDarrah, Edited and with an introduction by Elias Wilentz
[35]
Smithsonian Archives of American ArtRetrieved June 20, 2010
[36]
Catalog of Copyright Entries. Third Series: 1955 Retrieved June 20, 2011

This article about a painter from the United States is a stub. You can help Wikipedia by adding missing information.

Bernice Rose, "The Drawings of Roy Lichtenstein", Museum of Modern Art

Copying from another artist’s work had been out of style for a good part of the twentieth century; the avant-garde had increasingly set store by invention. In resorting to old-fashioned copying (and of such 'unartistic' models), Lichtenstein did something characteristic: he made it so obvious that he was copying that everyone knew it. In effect he threw down the gauntlet, challenging the notion of originality as it prevailed at that time.

	Season's greetings!
	I hope this holiday season is festive and fulfilling and filled with love and kindness, and that 2016 will be successful and rewarding...Modernist (talk) 23:47, 24 December 2015 (UTC)

	Season's greetings!
	I hope this holiday season is festive and fulfilling and filled with love and kindness, and that 2017 will be successful and rewarding...Modernist (talk) 23:13, 24 December 2016 (UTC)

	Season's greetings!
	I hope this holiday season is festive and fulfilling and filled with love and kindness, and that 2018 will be safe, successful and rewarding...Modernist (talk) 12:00, 24 December 2017 (UTC) (UTC)

}}

Gallery

Second gallery

References

Happy Holidays

William "Bill" Pettet Modernist/work II
Born	Donald William Pettet (1942-10-10)October 10, 1942 Whittier, California
Died	May 4, 2019(2019-05-04) (aged 76) Brooklyn, NY
Alma mater	California Institute of the Arts
Known for	Painting
Movement	Lyrical abstraction, color field painting and abstract expressionism.
Spouse	Marilee Pettet

Career

William Pettet from the earliest days of his career had a significant impact on abstract painting of the mid-1960s. As a major figure in the art world for over four decades, William Pettet has long been a pioneer of alternative painting techniques. He began his career as a painter in the early 1960s, living in Los Angeles, and experimenting with the emerging Minimalist genre. Employing spare and geometric compositions, Pettet generally confined his palette to a single color, cultivating a somber and austere aesthetic. In 1969, Pettet moved to New York City, and into a loft building in Tribeca. He radically altered his technique. He adopted much of the Abstract Expressionist approach, by painting on unstretched canvases laid over the floor, but quickly pushed past the bounds of Abstract Expressionism by infusing his work with new methodologies - incorporating spray guns, air compressors, knives and squeegees into his process. The results were stunning, as Pettet crafted highly lyrical canvases that expanded the asceticism of his early work.

The artist also began to imbue his painting with a dynamic sense of color, which afforded a more natural appearance and lent the work a strong emotional and psychological depth. Furthermore, Pettet demonstrated a newfound appreciation for art's theoretical components, as he neatly folded color in sumptuous layers while maintaining the integrity of the flat canvas -- a technique that embraced the art world's fascination with an art object's 'truthfulness' but exacted a more fluid appearance from the two-dimensional surface.

Pettet's early success on both coasts proved an integral component of art history's course over the last fifty years, as the attention he received in New York prompted artists and collectors alike to look Westward for further innovation.

He has been honored with many solo exhibitions and is featured in the collections of numerous important museums, including the Whitney Museum of American Art and the Museum of Modern Art in New York.

Collections

Personal life

Distinguished Mentions

Abstract Art writes
- William Pettet by 1968 widened his range of interest and radically changed his painting methods. He extended his scale, worked unstretched on the floor and the wall and began using his spray guns and air compressors to vary the surfaces of his pictures. He began to paint large, lyrical, free spirited, Monet-like, sprayed acrylic stain paintings. Many of the pictures maintained a sense of monochromatic color but the range of surface and value created by his use of his spray guns lent tremendous expression to the paintings through drawing. These were Pettet's first Lyrical Abstractions; and he painted with astonishing lucidity. When Pettet moved to New York City in 1969 his work grew more direct as he brushed and drew large flowing shapes into his stained and sprayed surfaces. Throughout the 70's Pettet made beautiful abstract paintings with knives, squeegees, and stains. He has a particular ability to juxtapose odd colors together and make them work. Many of his paintings recall the great English Landscape painter Turner. I can't see the ironical Lyrical Abstraction of Gerhardt Richter of the last few years, without immediately thinking of William Pettet, although Pettet predates Richter by more than a decade. William Pettet began to exhibit his paintings in Los Angeles in 1966. By the time he moved to New York City in 1969 he had had several solo exhibitions of his paintings and his work had been included in major group shows around the world. William Pettet's work is in many important museum and private collections in the United States and abroad. His work has been included in important publications and he has had several solo exhibitions in the United States and Canada
Mutual Art writes
- William Pettet is an American Postwar & Contemporary painter who was born in 1942. William Pettet's work has been offered at auction multiple times, with realized prices ranging from $144 USD to $1,410 USD, depending on the size and medium of the artwork. Since 2011 the record price for this artist at auction is $1,410 USD for Color Field Painting, sold at Cowan's Cincinnati in 2011.
Susan Snyder with Nicholas Wilder Gallery writes
- As opposed to the dedication to flatness and deductive structure of, say, Noland or Stella, a group of painters, deriving perhaps most directly from Mark Rothko, and including such artists as Robert Irwin, Jules Olitski and Agnes Martin, continue to work within the confines of a tense, only partially resolved, shallow three-dimensional space. William Pettet’s paintings, in his first one-man show, fall into this latter category. Like Olitski, Pettet shifts the emphasis to the possibilities of a structure based on color alone. One sees, at first, a group of monochromatic green spray paintings, which shortly become differentiated into an experience of many different hues, fusing into a nostalgic color-light. At their best, they communicate a tingling sensation of color, free from a residue of the rational; but at their worst they degenerate into flat color samples, impassively accepting their surroundings. A few monochromatic painters have felt it necessary to pull the square out into a shape upon the wall, like the emblematic, wall-gridded picture-puzzles of David Novros. Pettet’s reliance upon the unaltered square declines a gambit; one of the brilliant things about, for example, Olitski, is the successful manner in which he dynamizes the passive rectangle. When Pettet’s paintings are successful, one sees an underlying tightness within the unimaginative square format; a faint, over-all gridding of hue concentration, with light-sweeping passages of color variations. The show is a handsome and controlled first exhibition.

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