|This biography from the Archives of AskART:|
|Born in Bronxville, New York, Brice Marden became a Minimalist painter of monochromatic appearing, non-objective canvases.|
did undergraduate study at Boston University, earned a Master of
Fine Arts degree from Yale University and then moved to New York City
in 1963 where, within a decade, he had achieved international
recognition. Before he was able to support himself financially
with his artwork, he worked as a guard at the Jewish Museum and in 1966
as a studio assistant to Robert Rauschenberg.
In 2001, he established a studio and townhouse home in Greenwich
Although he considers New York City his base, he also has established
studios from which he regularly works in Eagles Mere, Pennsylvania in
1991 and Tivoli, New York in 2002, and the Greek island of Hydra from
solo exhibition was in 1966 at Klaus Kertess's Bykert Gallery in New
York, and from then he has had numerous exhibitions in the United
States and Europe including the Solomon R Guggenheim Museum in 1975 and
the Whitechapel Art Gallery in London in 1982.
In 2007 the Museum of Modern Art in New York City is hosting a major
retrospective of his work, which is only about 100 paintings, and which
is his first retrospective since the 1975 Guggenheim exhibit. The
2007 show "charts his evolution as a painter, beginning with his
monochromes from the early 1960s" linked to Minimalism. However,
in the 1980s, a major change occurred in his painting "when he replaced
his minimalist approach with a gestural style in which ribbons of color
float and wheel between and on top of one another against a contrasting
background." (Ayers, 60) He also began inserting calligraphy into
In the early 21st century, Brice Marden is described as being of
particular interest because he is one of the few living highly
respected artists whose primary style is linked to Abstract
Expressionism. Of his working method, he says that he alternates
"periods of long consideration with bursts of frenetic activity"
(Ayers, 60) and that the activity stage has him doing a lot of drawing
that is not always related to painting. He is committed to
freeing himself psychologically so that painterly spontaneity can guide
Robert Ayers, "Brice Marden", Art & Auction, December 2006, pp. 59-60.
Matthew Baigell, Dictionary of American Art
|This biography from the Archives of AskART:|
|Brice Marden was born in Bronxville, New York on October 15, 1938. He
grew up in a middle-class environment in Briarcliff Manor, New York. He
came from a family immersed in the arts, but the idea to be an artist
seems to have been essentially his own and to have matured gradually.
After majoring in fine arts at Boston University, Marden went to Yale
where he received a Master of Fine Arts degree. In 1963 he moved to New
York City; he lived there with his family and worked in an enormous
Marden first came to public attention with grayish
monochrome paintings done with a mixture of beeswax and oil. In 1968 he
began working with two or three single-color panels joined vertically
or horizontally. In the early 1970s, Marden's art went though a major
transformation; he broke through his self-imposed barrier by
introducing the primary colors. 1980 was another key point in Marden's
development. He began introducing clearly recognizable motifs,
including the tau cross and the door frame.
Marden's summer home
is in Kamini on the Greek island of Hydra, and he enjoys its isolation.
He has married twice and has a son from the first marriage and two
daughters from the second marriage.
Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California.
Maurice Poirier in ARTnews, January 1985
Call it a Mid-Life Crisis by Paul Gardner, in ARTnews, April 1994
From the internet, Artnet.com
|Biography from GallArt.com:|
|Brice Marden (born October 15, 1938), is an American artist, generally described as Minimalist, although it is difficult to categorize his work. He lives in New York and Eagles Mere, Pennsylvania.|
Marden was born in Bronxville, New York and grew up in nearby Briarcliff Manor. He attended Florida Southern College, Lakeland (1957 to 1958), receiving his BFA from the Boston University, School of Fine and Applied Arts in 1961. Marden earned his MFA from the Yale School of Art and Architecture (1963), where he studied with Esteban Vicente, Alex Katz, Jon Schueler, Jack Tworkov, Reginald Pollack, Philip Pearlstein, and Gabor Peterdi. Among his fellow students were the future artists Richard Serra, Chuck Close, Vija Celmins, Nancy Graves, Gary Hudson and Robert Mangold. As he studied art, Marden was also immersed in the Cambridge folk music world. His first wife, Pauline Baez, whom he married in 1960, is Joan Baez's sister. He met Bob Dylan and Pete Seeger and lived for a while at Joan Baez's house in Carmel, California.
It was at Yale that Marden developed the formal strategies that would characterize his drawings and paintings in the proceeding decades: a preoccupation with rectangular formats, and the repeated use of a muted palette. In his early work of the 1960s and 1970s, he used simplified means, typically monochrome canvases either alone or in series of panels, diptychs or triptychs. These include the works The Dylan Painting, 1966; 1986 (now in the collection of San Francisco Museum of Modern Art); 1969's Fave (the Jack S. Blanton Museum of Art, University of Texas at Austin); and Lethykos (for Tonto), 1976 (The Museum of Modern Art, New York).
Marden relocated to New York in 1963, where he came into contact with the work of Jasper Johns while employed as a guard at the Jewish Museum, New York during the museum's Johns's 1964 retrospective. The following summer Marden traveled to Paris where he began to make compressed charcoal and graphite grid-patterned drawings. Marden's graphic works are a corollary to his paintings, and he would transfer ideas into even his most recent paintings and drawings. Marden made his first monochromatic single-panel painting in the winter of 1964. It was also in Paris that he admired the work of Alberto Giacometti and Jean Fautrier, although masters such as Francisco de Zurbarán, Diego Velázquez, and Édouard Manet have also informed Marden's artistic practice.
In 1966, at Dorothea Rockburne's suggestion, Marden was hired by Robert Rauschenberg to work as his assistant. That same year he had his first solo show in New York at the Bykert Gallery, which exhibited the first of his classic oil-and-beeswax paintings.
In the late 1960s and early '70s, a moment when painting was widely considered moribund, Marden gained international fame as the master of the monochrome panel. In 1971, Brice and his wife, Helen Harrington, visited the Greek island of Hydra, to which they have returned every year since. The couple bought their first home there in 1973.The light and landscape have greatly influenced Marden's work (see, for instance, the five Grove Group paintings, 1972–1980; Souvenir de Grèce works on paper, 1974–1996). Executed in oil on marble fragments, he made a total of 31 paintings on marble on Hydra.
Marden’s early monochromatic paintings exist as single panels, diptychs and triptychs. In each of the four Red Yellow Blue paintings (1974), the artist painted slabs of dense yet nuanced color on three adjoined canvas panels, using oil paint mixed on the spot with melted beeswax and turpentine and applied with a knife and spatula. He gradually increased the number of panels, arranging them into post-and-lintel configurations. After preparing designs for stained-glass windows for Basle Cathedral in 1977, he became interested in expressing in his paintings the conditions of colour and light in architecture. Between 1981-87, Marden made a total of 31 paintings on marble, all of them produced in Hydra.
In 1977, Marden traveled to Rome and Pompeii, where he strengthened his interest in Roman and Greek art and architecture, which would influence his work of the late 1970s and early 1980s. In 1983, Marden and family traveled to Thailand, Sri Lanka, and India; the artist became fascinated by the art, landscape, and culture of parts of Asia. Marden has subsequently incorporated numerous elements of certain Asian traditions into his work, making them one key to his process (the Shell Drawings, 1985–87). A visit in 1984 to the exhibition Masters of Japanese Calligraphy, 8th-19th Century, encouraged Marden to use form, a predominant influence in his recent work—which can be seen in his acclaimed Cold Mountain series, both paintings and works on paper, 1989-1991. Combining airy, calligraphic scaffoldings of line with whitish or palely tinted backgrounds, these 9-by-12-foot paintings were the biggest Marden had made to that point.
In 2000, Marden embarked on The Propitious Garden of Plane Image, the longest two of which measure 24 feet. Writing in The New Yorker in 2006, the critic Peter Schjeldahl described Marden as "the most profound abstract painter of the past four decades."
"Brice Marden", Wikipedia, //en.wikipedia.org/wiki/Brice_Marden (Accessed 10/10/2013)
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