His father, Allan Howe Kelly, worked for the U.S. Kelly was born May 31, 1923, in Newburgh, N.Y. Reviewing the show for the New Yorker, Simon Schama wrote that the strength of Kelly’s “opulently colored and gracefully formed” work was “its winning combination of perceptual subtlety and sensuous immediacy: a philosophical delicacy of vision pumped up into raw chromatic heft.” It is Kelly’s strength to objectify color and form and to distill its essence from the world of reality, drawing on human emotion, imagination, and spirit.” In the catalog of the Guggenheim’s 1996-98 traveling retrospective, curator Diane Waldman wrote: “Kelly’s need to make color an independent entity and to align it with a specific shape and space may have set him apart from a particular group or movement, but it has not set him apart from the art and culture of the 20th century nor from the age-old issues that animate art and give it its true meaning. Long before Kelly’s death, art historians and critics pondered the complexities of his work and where it fit. Art history books had classified him as an exemplar of Minimalism’s cool aesthetic, which gathered force in the 1950s and ‘60s in reaction to Abstract Expressionism’s emotional aura. The idea has to come to me … something that has the magic of life.”īy then, Kelly was internationally known as a master of geometric abstraction, the high priest of crisp, hard-edge shapes and vivid colors. Guggenheim Museum - appeared at the Museum of Contemporary Art in Los Angeles, he told a Times reporter: “I’m not searching for something. Six years later, when a Kelly retrospective exhibition - organized by New York’s Solomon R. “I think if you can turn off the mind and look only with the eyes, ultimately everything becomes abstract,” the artist told an interviewer in 1991, reflecting on the evolution of his work. If he paid close attention to, say, the contour of a window, the shape of a leaf, the play of light and shadows on man-made and natural forms, his art would emerge. The key to creative inspiration was in the world around him, not in other artists’ studios or at the Louvre. As a young American in Paris in 1949 - four years out of the Army and one year out of a Boston art school - Ellsworth Kelly had an epiphany.
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