(1922 - 2007)
Jules Olitski was active/lived in New York. Jules Olitski is known for color-field abstraction, sculptor, graphics.
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Biography from the Archives of askART
Color Field painter, Jules Olitski was a GI Bill student in Paris,
where he had his first solo exhibition in 1951. Later in New York, with
his GI compatriot Ellsworth Kelly, "he explored the autonomy of
materials in terms of a completely flat definition of shape and color."
He then investigated the staining techniques established by Helen
Frankenthaler, Kenneth Noland, and Morris Louis, and finally in the
1960s arrived at the method of spray painting which has become his
domain by right of accomplishment. Olitski adopted a technique in which
he employed airbrushes or squeegees, applying paint in a multilayered
Biography from the Archives of askART
Olitski, together with Larry Poons, Noland,
Frankenthaler and Louis, was at the center of an absorbed interest in
color which became especially prominent by the end of the 1950s--an
interest given focus by a series of exhibitions organized by Clement
Greenberg in 1958.
In the art of Jules Olitski, there is a
sustained effort to produce a visual experience utterly unique to
painting. In the will to suppress any personal display, and to create a
work of art that is only, but precisely, a visual event, one aspect of
the Modernist tradition (www.sheldon.unl.edu).
forged in 1995 a new way of interpreting the landscape through his own
unique use of color and form. Over the last four years, working not
only in his home on Lake Winnipesaukee in New Hampshire, but in
Connecticut and Florida as well, Olitski has produced a large body of
monotypes, watercolors, pastels, acrylics and various mixed media
combinations that range in size from large to small.
feature intense landscape forms - trees, cliffs, islands, sunrises and
sunsets - expressed in thoughtful phantom moods that shimmer and
radiate. His latest expressive painting reveals the continuing
development of one of America's finest painters. In addition to having
had over 150 solo exhibitions worldwide, his work is in the collections
of the Australian National Gallery, Boston Museum of Fine Arts, Dallas
Museum of Fine Arts, The Israel Museum (Israel), The Metropolitan
Museum of Art (New York), Museum of Modern Art (New York), National
Gallery of Canada, Seattle Museum, Museum of Fine Arts (Houston), and
the Whitney Museum of American Art (New York) (www.vlynchgallery.com).
Jules Olitski was born in Snovsk, Russia (now Shchors, Ukraine) on
March 27, 1922. His father, Jevel Demikovsky, had been politically
executed just before he was born. He was brought to the United States
the following year by his mother and grandmother. His mother remarried
three years later. He showed an early love for drawing and
attended art classes on Saturday morning in New York. He studied
portraiture at the National Academy of Design in New York City under
Sidney Dickinson during the 1940s, then traveled to Paris where from
1949 through 1951 he studied at the Academie Grande Chaumiere and with
Ossip Zadkine, the sculptor.
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His work was growing steadily
more abstract. In the late 1950s he began incorporating heavy
impastos and murky color in his painting and in 1960 his esthetic took
an abrupt turn when, in his search for more original effects, he began
dyeing large canvases. He produced a large body of work in pure
color but the art world was very slow to accept it and he lived from
hand to mouth for a long time.
When success did come, he and his
wife Kristina began living a very different life. During the winter
months they live in the Florida Keys, on an island facing Florida
Bay. In the spring they move north to Bear Island, New
Hampshire. They also own a townhouse in the East Village of New
York City. Kristina works right along with him, helping to mix colors
and contributing to the Color Field path his work has taken him.
Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California.
John Gruen, in Architectural Digest
Valerie F. Brooks in ARTnews
Robert Hughes in Time, July 16, 1973.
From the internet, Artnet.com
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