Frank Stella, a groundbreaking abstract painter who passed away at the age of 87, was known for his minimalist Black Paintings which defied traditional ideas of spiritual uplift in abstract art. Despite their lack of external references, Stella declared that “what you see is what you see,” providing the Minimalist movement with a lasting slogan. However, Stella later shifted from this approach in the late 1970s, embracing deep space and baroque curves in his work.
Stella’s dedication to abstract art for over 60 years may seem out of step with today’s figuration and socially conscious painting trends. He believed that art was not a tool for improving society or combating injustice, dismissing the idea that art could be good therapy for those who are truly sick. Stella’s unwavering commitment to abstract painting set him apart in an era of genre fluidity, where he continued to champion the creation of space within his artwork.
His dedication to creating pictorial space in abstract painting was met with some confusion by critics and fellow artists, who viewed his work as academic and overly specialized. Stella’s focus on form, shape, and color as opposed to literary meaning earned him acclaim, becoming a defining artist of his generation. His art felt like an intellectual adventure, challenging viewers to engage deeply with the visual elements of his work rather than seeking traditional narrative themes.
Born in 1936 in Massachusetts, Stella attended Princeton University without formal art training, moving away from academic drawing to explore geometric progressions and computer design in his art. His notable Black Paintings, unveiled in 1959, represented a departure from gestural painting popular among Abstract Expressionists. Stella’s association with Jasper Johns influenced his approach to structure in art, leading to innovative sculptures and painting series throughout his career.
There is no consensus on Stella’s best works, but his restrained pieces from the 1960s such as the Copper Paintings and Protractor series are often praised for their elegance and visual impact. Stella’s Polish Village series and Moby Dick series, inspired by Polish synagogues destroyed during World War II and Herman Melville’s epic novel respectively, demonstrate a depth and vulnerability that set them apart from his other work. Stella’s ability to imbue abstract art with humanistic meaning challenges the notion that his work connected solely to itself.
Throughout his career, Stella remained dedicated to advancing the possibilities of abstract art, pushing the boundaries of what painting could achieve in terms of form and space. His marriage of intellectual rigor and audacity set him apart in the art world, challenging traditional notions of abstraction and opening new possibilities for artists in the years that followed. Stella’s legacy lives on in his bold and innovative artwork, continuing to inspire and provoke discussion within the art community.
