Hard-edge painting
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Photograph by duwagison Flickr.
The same year, NOHO MODERN showed the works of June Harwood in an exhibition entitled June Harwood: Hard-edge painting Revisited, 1959-1969. Helen Lundeberg was The Kiss Klimt painting not included in the exhibit. Four Abstract Classicists was subtitled California Hard-edge by British art critic and curator Lawrence Alloway when it traveled to England and Ireland.
Art critic Dave Hickey solidified the place of these 6 artists in: The Los Angeles School: Karl Benjamin, Lorser Feitelson, Frederick Hammersley, June Harwood, Helen Lundeberg and John McLaughlin. The Hard-edge painting style is related to Geometric abstraction, Op Art, Post-painterly Abstraction, and Color Field painting. The term was coined by writer, curator and Los Angeles Times art critic Jules Langsner in 1959 to describe the work of painters from California, who, in their reaction to the more painterly or gestural forms of Abstract expressionism, adopted a knowingly impersonal paint application and delineated areas of color with particular sharpness and clarity.
Hard-edged painting can be both figurative or nonrepresentational. In the late 1950s, Langsner and Peter Selz, then professor at the Claremont Colleges, observed a common link among the recent work of John McLaughlin (1898-1976), Lorser Feitelson, Karl Benjamin, Frederick Hammersley (1919-2009) and Feitelson s wife Helen Lundeberg. Color areas are often of one unvarying color.
This was called, simply, California Hard-edge painting. In 2003, Louis Stern Fine Arts showed a retrospective exhibition for Lorser Feitelson entitled Lorser Feitelson and the invention of Hard-edge painting, 1945-1965.
Kirchberger, Georg Karl Pfahler and Jack Youngerman. . The term came into broader use after Alloway used it to describe contemporary American geometric abstract painting featuring economy of form, fullness of color, neatness of surface, and the nonrelational arrangement of forms on the canvas. In 1964, a second major hard-edge exhibition curated by Jules Langsner was held at the Pavilion Gallery in Balboa, CA (also known as the Newport Pavilion) with the cooperation of the Ankrum Gallery, Esther Robles Gallery, Felix Landau Gallery, Ferus Gallery and Heritage Gallery of Los Angeles.
The exhibit again featured Feitelson, McLaughlin, Hammersley, and Benjamin, and added Lundeberg as the fifth of the original Hard-edge painters. The group of seven gathered at the Feitelson s home to discuss a group exhibition of this nonfigurative painting style.
This approach to abstract painting became widespread in the 1960s, though California was its creative center. Other, earlier, movements, or styles have also contained the quality of hard-edgedness, for instance the Precisionists also displayed this quality to a great degree in their work. Included in this show were Florence Arnold, John Barbour, Larry Bell, Karl Benjamin, John Coplans, Lorser Feitelson, Frederick Hammersley, June Harwood, Helen Lundeberg, John McLaughlin and Dorothy Waldman. In 2000, Tobey C.
Hard-edge painting is painting in which abrupt transitions are found between color areas. Other artists associated with Hard-edge painting include Ilya Bolotowsky, Richard Anuszkiewicz, Victor Vasarely, Bridget Riley, Max Bill, Nassos Daphnis, Agnes Martin, Myron Stout, Al Held, Ludwig Sander, Burgoyne Diller, Ellsworth Kelly, Alexander Liberman, Gene Davis, Kenneth Noland, Ad Reinhardt, Frank Stella, Leon Polk Smith, Peter Halley, Robert Indiana, Günther C.
Hard-edge can be seen to be associated with one or more school of painting, but is also a generally descriptive term, for these qualities found in any painting. Curated by Langsner, Four Abstract Classicists opened at the Los Angeles County Museum of Art in 1959.
