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Ad Code: 2
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from Auction House Records.
VARIABLES WITH COLOR
Artwork images are copyright of the artist or assignee
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Biography from AskART:
| Robert Goodnough was born in upstate Cortland, New York. Though he later evolved into a full-blown abstractionist, while at Syracuse University, he worked realistically from casts and from life. His move toward abstraction began with study with Amedee Ozenfant and Hans Hofmann in New York City, 1946-1947.
Hofmann, at this time in America, probably had more to do with shifting young American painters away from making art from reality and realist thinking into abstraction than any other teacher of painting.
Now living in New York City, Goodnough would later teach at Cornell University in Ithaca, New York, New York University and the Fieldston School in New York City. He also served as an art critic for Art News Magazine from 1950 to 1957.
Goodnough became another of the tens of thousands of artists caught up in the Cubism of Pablo Picasso. He was also attracted by the stark abstractions Piet Mondrian. He combined these styles in the 1950s with that of Hofmann, his teacher, in a hybrid of Cubism and Abstract Expressionism. Since that time, like so many other abstractionists, Goodnough has been influenced by many abstract directions in art, including collage, sculpted constructions of birds and figures, and hard-edge paintings in the 1950s and 60s. From the 1970s, Goodnough has painted very large, geometric, abstract canvases.
His work is in the following collections: Albright-Knox Art Gallery, Buffalo; Art Institute of Chicago; Baltimore Museum of Art; Birmingham Museum of Art, Alabama; Museum of Modern Art, Whitney Museum of American Art and Metropolitan Museum of Art, New York City; Museum of Fine Arts, Boston; Newark Museum, New Jersey; and the Rhode Island School of Design, Providence.
Source:
Michael David Zellman, "300 Years of American Art"
Matthew Baigell, "Dictionary of American Art"
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Robert Goodnough was born in Cortland, New York 1917. He earned B.A. degrees from Syracuse University, Ozenfant School of Fine Art, Hans Hofmann School of Art and an M. A. degree from New York University. While in the army, he painted portraits and murals, did art work for information and training manuals. While stationed in New Guinea he also did artwork for the daily publication CEBU. Goodnough taught painting (mostly portraiture) at New York University until 1953 and from 1953 to 1961 he taught part time at Fieldston School, New York.
Unlike many painters, Robert Goodnough has not restricted himself to painting only on canvas. He has tried his hand at many other techniques and materials. Over the years he has sculpted in wood, metal and plaster; he has done stained glass; he has made drawings and gouaches. He has produced an impressively large number of collages, a medium for which he is particularly well known.
In turning to print making, Goodnough brings the same aesthetic, the same stance as with other media. His image, his own characteristic style of work, endows the serigraphs as strongly as in the largest oils or sculptures.
Goodnough's serigraphs are an extension of forms one has found over the years in his paintings. As a solution for the technique of silkscreen this is particularly apt since colors and shapes can be reproduced and registered with absolute precision. It is astonishing to see a serigraph so felicitous a simulation of collage; but even more surprising is the application of color. It is impossible to find any difference between Goodnough's prints and his collages.
Perhaps Goodnough's refusal to "specialize" (the printmaker who makes prints, the sculptor who only models clay) has made possible freshness, a willingness to take risks, an extension of the range of expressive possibilities. This elegant self-hood, this sophisticated knowingness has made Goodnough perhaps one of the five or six finest American artists of the last four decades. One could not foretell what surprises this painter had in store for us. We can be certain, however, that whatever he turned his hand to, there would be no loss of integrity, the true basis for the Goodnough style.
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