(1930 - 1990)
Harry Nadler was active/lived in New Mexico, New York, California / Mexico. Harry Nadler is known for abstract geometric painting, teaching.
Biography from the Archives of askART
An abstract painter who lived in New York City; Amagansett, Long Island, and Albuquerque, New Mexico, Harry Nadler is described as a "formalist abstract painter of the 1960s-90s whose works were marked by their rich colors, transparencies, and labyrinthine constructions. —The attempt to capture in a purely abstract imagery the quintessential quality of light and contour that emanate from a particular landscape is a hazardous pictorial ambition, but Mr. Nadler has met the challenge of this problem with remarkable success.˜ (Hilton Kramer, The New York Times, April 27, 1974.
Biography from the Archives of askART
He was a teacher at the University of California Los Angeles, UCLA, from 1958-59; New York University, 1960-65; Brooklyn Museum Art School, 1960-65; Wesleyan University, Middletown, Connecticut, 1965-71;and University New Mexico, Albuquerque, 1971-90.
He was a student at UCLA, earning a Bachelor's Degree in 1958, and a Fulbright Scholar to Spain in 1960.
Exhibition venues included the following: Los Angeles County Museum of Art annuals; San Francisco Museum of Modern Art Annual; Denver Museum annual for Western artists; Butler Institute Art; Library of Congress; Northwest Printmakers annual; Santa Barbara (California) Museum Art, California, 1960; Nebli Gallery, Madrid, Spain, 1961; Drawing Shop Gallery, New York City, 1963; —Arte de America y Espana,˜ Spain, France, Germany, Italy, Switzerland, 1963; Wesleyan University, Middletown, Connecticut, 1965, 1971; Dorsky Gallery, New York City, 1966; Benson Gallery, Bridgehampton, New York, 1968, 1976; Tokyo, Japan, International Exhibition of Young Artists, 1967; Westmoreland County Museum Art, 1967; Heckscher Museum, New York City, 1969; Bertha Schaefer Gallery, New York City, 1969, 1972, 1974 (solos); Gallery Paul Facchetti, Paris, France, 1968 (Timeless Paintings from the U.S.A; Indianapolis Museum, 1969; Institute Franco-American, France, 1969; Benson Gallery, Bridgehampton, New York, 1971; American Library, Brussels, Belgium, 1971; Museumée des Beaux Arts, Nancy, France, 1970; The New School, Boston Art Club, New York City, 1969-70; London Arts Gallery, Detroit, MI, 1973; Janus Gallery, Santa Fe, New Mexico, 1973; Gruenebaum Gallery, New York City, 1979, 1981; Cantor/Lemberg Gallery, Birmingham, MI, 1981; Pennsylvania State University, State College, Pennsylvania , 1982; University New Mexico, Fine Arts Museum, 1983, 1991 (retrospective); Eller Gallery, Albuquerque, New Mexico, 1987; Sena Gallery East, Santa Fe, New Mexico, 1989.
In 1987, he had an award grant from the Israeli Government, 1987.
Peter Hastings Falk, Editor, Who Was Who in American Art
The following biographical information is provided, June 2010, by Helen Sturges Nadler, widow of the artist.
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Harry Nadler was born in Los Angeles in 1930, was graduated from UCLA with BA in 1956 and MA in 1958. He showed there at the Dwan Gallery, traveled to Spain to study Goya DISASTERS OF WAR on a Fulbright Scholarship, then moved to NYC to live and work.
After working at the Brooklyn Museum and New York University, he joined the faculty of Wesleyan University in Middletown, CT. In 1971, he moved to Albuquerque, N.M. to teach at the University of New Mexico, while keeping his home and studio in Amagansett, N.Y. He worked at the Tamarind Institute in lithography on many occasions.
During these years, he had one-man shows at New York galleries, such as Dorsky Gallery, Bertha Schaefer Gallery, Benson Gallery (Bridgehampton, N.Y.), Gruenbaum Gallery, and participated in many exhibitions as well. His work is included in many museum collections such as Guggenheim Museum, Pennsylvania Academy, Fine Arts Museum of Santa Fe, Detroit Museum of Art. Posthumously, he had exhibitions at Vered Gallery in Easthampton, N.Y., David Findlay Jr., in NYC, and Gallery 4 in Tiverton, R.I.
Mr. Nadler worked in many different media, using color and structure in a sensuous way. His work was abstract for the most part and comtemplative in feeling. He used geometry, (in his later work, the Golden Mean), to make the bones for his color-space, using the sumptiousness of his materials, to create a timeless space.
He worked in his studio till his death in November of 1990.
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