American painter Frank Stella
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Frank Stella is an American painter who remains poplar after almost four decades of work. He was born in 1936 and studied at the Phillips Academy in Andover, Massachusetts under Patrick Morgan and at Princeton University under William Seitz and Stephen Greene. After 1958 he lived in New York. He came to the fore in the 1960s as one of the most inventive of the new school of Post-Painterly Abstraction, a reaction against Abstract Expressionism. He was then exhibited widely in New York, Los Angeles, and elsewhere. A retrospective exhibition in 1970 was held under the auspices of the International Council of the Museum of Modern Art in New York. He began as one of many post war minimalist painters, but then his work took a different route from the others, leading him to a "second career" in abstract expressionism. In this career, he struggled with issues, which had placed abstract art in a standstill after Mondrian, and Stella looked back to the sixteenth century for solutions. Stella has also been influenced by the Baroque period, first because of parallel situations, but also because of similarities in the creation of space ("Concepts in career: Frank Stella"). The point of departure for Stella in 1958 for his new approach to abstraction was the flag paintings of Jasper Johns. Using various devices, Stella emphasized the flatness of the painting pattern, abolishing the three-dimensional image, and he was uncompromising as he refused to permit the introduction of de
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ultiple planes of space ("Minimalism").
Stella's minimalism is more obvious in his early years and is apparent in some of his simplified works with basic shapes and metallic or flat enamel paints. Stella's wild use of illusions, movement, emotions, and the unified space of viewer and art stand as a break from the concepts of the truly conservative minimalists. However, by addressing color, line, frame, and spacial issues one at a time, Stella continues to act under the influence of the minimalist movement, experimenting with primary visual devices in the simplistic style of a true minimalist ("Minimalism").
In the early 1960s, Stella turned his attention from the shape on the canvas to the shape of the canvas, and in works like Marquis de Portago (1960), the canvas mimics the shapes it contains. The best known of Stella's early shaped canvas series is the "Protractor Series" from the late 1960's. The interlocking shapes show not only the use of a logical system to create a work of art, but also the artist's appreciation of Hiberno Celtic and Islamic art. Even with these shaped canvases, though, Stella felt trapped in the dead end of flat, spaceless, abstract paintings. Most artists were then working in a more rigorous, ge
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