Frank Stella Artworks
American Painter and Printmaker
Progression of Art
The Marriage of Reason and Squalor, II
Belonging to the artist's groundbreaking series Black Paintings, The Marriage of Reason and Squalor is composed of black inverted parallel U-shapes containing stripes separated by thin lines of unpainted canvas. The repeated geometric pattern, in combination with the work's lack of figuration or expressive brushwork, prompts the viewer's recognition of it as a flat surface covered with paint, rather than a depiction of something else, upending the centuries-long concept of painting as window onto illusionistic three-dimensional space. The Black Paintings' stark simplicity, impersonal handling of the medium, and use of repeated geometric forms made them enormously influential on the emergence of Minimalism, whose practitioners likewise pursued the viewer's pure interaction with the art object. Along with three other of the Black Paintings, this work was included in the seminal MoMA exhibition Sixteen Americans. As if denying the painting's evocative title, Stella issued his famous maxim "What you see is what you see," in relation to this painting.
Enamel on canvas - The Museum of Modern Art, New York
In his exploration of formal issues, Stella habitually worked in series, developing increasingly complicated variations on selected themes. In contrast to the monochrome Black Paintings, the Protractor series, to which Harran II belongs, deploys a vivid palette and composition consisting of rectangular shapes superimposed on curving and circular forms. As in The Marriage of Reason and Squalor, Harran II's stripes emphasize the flatness of the composition, reminding the viewer that a painting is merely canvas covered with paint. This concept is reinforced by the use of the shaped canvas, which, challenging the conventional rectangular format, further denies the painting's status as illusionistic window and enhances its "object-like" quality. Harran II - whose title comes from the name of an ancient city in Asia Minor - invites parallels with sculpture as well as architecture. Measuring a massive 10 x 20 feet, the work is architectural in scale, while its composition was based on the semicircular drafting tool for measuring and constructing angles.
Polymer and fluorescent polymer paint on canvas - Solomon R. Guggenheim Museum, New York
The shaped canvas recurs in the works of Stella's Polish Village series, to which Michapol I belongs. Each composition is developed from color variations and interlocking geometric forms influenced in part by Russian Constructivism. Also inspired by Polish synagogues of the 17th through the 19th centuries, the works of the Polish Village series are large-scale collages, in which the artist pasted felt, paper, and wood onto the stretched canvas. Despite their sculptural qualities, Stella described the impulse behind Michapol I and the other works of the series as "pictorial."
Mixed media on canvas - The Museum of Contemporary Art, Los Angeles
The present piece is part of Stella's Indian Bird series, in which the artist further expanded the category of "painting." Stella deployed painted curlicue aluminum forms that jut out into the viewer's space - increasing the works' object-like nature and diminishing their appearance as paintings hanging on a wall. Stella's use of assembled parts and three-dimensional elements notwithstanding, he still regarded the Indian Bird series - at the time his most sculptural work - as consisting of paintings or painted reliefs. Seen by some at the time as "disco-like," the series' garishly colorful palette - produced by adhering particles of metal shaving or ground glass to a first layer of color, which were then painted or stained over - was also new to his oeuvre. Stella began the series during his 1977 stay in Ahmedabad, naming the individual works after birds found on the Indian subcontinent.
Enamel and glitter on metal - San Francisco Museum of Modern Art, San Francisco
In the Fountain, Stella further explores the boundaries between artistic media. Although mural-sized, the piece - measuring 7 x 23 feet - is not a painting, but a print. The Fountain is Stella's most extensive work on paper to date and his culminating achievement in the medium of printmaking - a vital aspect of Stella's work since the 1960 - utilizing seven processes and sixty-one different colors. The piece belongs to a large, diverse series Stella created between 1985 and 1997 based on Herman Melville's Moby Dick. As such, for Stella it constitutes an homage of sorts to Abstract Expressionism, a number of whose artists also created works inspired by Ahab's epic struggle with the whale. Fittingly, and in keeping with the nonrepresentational nature of Stella's work, The Fountain is abstract, reflecting Stella's goal of conveying both a sense of motion and the power of the story, rather than the specific narrative.
Print, relief, intaglio, stencil, collage and hand-coloring - National Gallery of Australia, Canberra
Prinz Friedrich von Homburg, Ein Schauspiel, 3X
Given Stella's creation of numerous, at times large-scale, paintings with protruding three-dimensional elements, the production of freestanding sculptures or architectural structures might have seemed the next logical step for the artist. Prinz Friedrich von Homburg, Ein Schauspiel, 3X is just that - a massive composition whose spiraling forms and clusters continues the visual lexicon of the artist's painterly reliefs. Sitting outside the National Gallery of Art, it is one of Stella's first monumental works - weighing in just under ten tons and measuring an enormous 31 x 39 x 34 feet. The title comes from the name of a play by the 18th-century German playwright Heinrich von Kleist about love and war.
Stainless steel, aluminum, painted fiberglass and carbon fiber - National Gallery of Art, Washington, D.C.