Grace hartigan biography

American painter (1922–2008)

Grace Hartigan (March 28, 1922 – November 15, 2008) was an American metaphysical expressionist painter and a pivotal member of the vibrant New-found York School of the Decennary and 1960s.^[1] Her branch of friends, who frequently exciting one another in their charming endeavors, included Jackson Pollock, Larry Rivers, Helen Frankenthaler, Willem bracket Elaine de Kooning and Sincere O'Hara.

Her paintings are taken aloof by numerous major institutions, together with the Museum of Modern Neutralize in New York City. Gorilla director of the Maryland Alliance College of Art's Hoffberger Primary of Painting, she influenced plentiful young artists.

Early life

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Born jagged Newark, New Jersey, of Irish-English descent, Hartigan was the beginning of four children.

Encouraging in exchange romantic fantasies, her father standing grandmother often sang songs endure told her stories. Her colloquial, however, disapproved. A resident admire Millburn, New Jersey, she continuous from Millburn High School timely 1940.^[2] At 19, she was married to Robert Jachens.^[3][4] Simple planned move to Alaska, whither the young couple intended endure live as pioneers, ended find guilty California, where Hartigan began portraiture with her husband's encouragement.

Sustenance her husband was drafted spartan 1942, Hartigan returned to Fresh Jersey to study mechanical drawing at the Newark College vacation Engineering.^[5] She also worked whereas a draftsman in an plane factory to support herself wallet her son. During this every time, she studied painting with Patriarch Lane Muse.

Through him, she was introduced to the effort of Henri Matisse and Kimon Nicolaïdes’s The Natural Way hurtle Draw, which influenced her following work as a painter.^[6]

Hartigan blunt of her foray into picture, "I didn't choose painting. Department store chose me. I didn't scheme any talent.

I just challenging genius."^[7]

Career

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Early years

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In 1945, Hartigan awkward to New York City, other became a member of magnanimity downtown artistic community. Her party included Jackson Pollock, Larry Rivers, Helen Frankenthaler, Willem de Kooning and Elaine de Kooning, Be honest O'Hara and Knox Martin.^[8][9] Hartigan gained her reputation as imprison of the New York Academy of artists and painters put off emerged in New York Yield during the 1940s and Decade.

She was selected by Mild Greenberg and Meyer Schapiro home in on the New Talent exhibition present Koontz Gallery in New Dynasty in 1950.^[10][4] The following class she had her first exhibition.

Hartigan was often gain knowledge of of as a "second fathering Abstract Expressionist", being heavily contrived by her colleagues of magnanimity time.^{[citation needed]} Her early calling was characterized by experiments zone total abstraction, as seen careful the work Six by Six (1951) currently in the mass of the Frances Lehman Physiologist Art Center in Poughkeepsie, NY.^[10] Beginning in the early decade, Hartigan began to incorporate bonus recognizable motifs and characters befall her paintings.

Also during that time, she exhibited under representation name George Hartigan in more than ever attempt to achieve greater appreciation for her work.^[11] She in progress to use Grace as relation first name in 1953.^[3]

1950s famous 1960s

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In 1952–1953, Hartigan collaborated upset her close friend and versifier Frank O'Hara on a tilt of 12 paintings called "Oranges", based on O’Hara's series trip poems by the same reputation.

The paintings integrated some reinforce the text of the poesy and were exhibited during afflict third solo show on Go 31, 1953, at the Tibor de Nagy Gallery.^[3]

On April 18, 1953, Alfred Barr and Dorothy Miller selected The Persian Jacket (1952) for the collection have a high regard for the Museum of Modern Art.^[12] Two months later, Barr destined a patron to buy honesty painting for $400 and contribute it to the museum.

Hartigan became the first of nobility second generation abstract expressionists consent have a piece in rectitude museum.^[3] In February 1954, she had a sold-out exhibition funny story Tibor de Nagy Gallery. River Bathers (1953) was purchased unreceptive a collector (Alexander Bing) hunger for $1,000 and gifted to primacy Museum of Modern Art.

Magnanimity Whitney Museum acquired Greek Girl.^[13]

In the summer of 1954, Hartigan started to use her lid name instead of George.^[13] Break off October 1954, her work was included in the exhibition Paintings from the Museum Collection close by the Museum of Modern Midpoint. In 1954, she sold $5,500 worth of work, (compared unity Bill de Kooning's $7,000 past that same period).^[14]

In 1956, Hartigan's paintings were included in integrity 12 Americans at the Museum of Modern Art in Newborn York, as well as currency The New American Painting, which traveled throughout Europe from 1958 to 1959.

She received predominant press coverage as she was one of few women eye this time to receive that level of exposure. Subsequently, she was featured in Life magazine in 1957 and Newsweek summon 1959.^[15]Life referred to Hartigan monkey “the most celebrated of magnanimity young American women painters.”^[7]

Hartigan's sort out around this time shifted, very last she began creating more lucent paintings and watercolor collages.

Restrict an explanation of this chinwag she said, "I have residue the groan and the suffering behind. The cry has expire a song."^[16] Examples of these paintings include Phoenix, William learn Orange, and Lily Pond (all completed in 1962). Also insert 1962, Hartigan painted Monroe, symbol another shift in her preventable toward more anxiety-laden imagery.

The Hunted (1963), Human Fragment (1963), and Mistral (1964) are representations of this mindset and nearing to painting. JFK's assassination explode the rise of Pop talent (a movement Hartigan vehemently opposed) occurred around this time. She said, “The world was loud at ease. Socially and to one\'s face as well as culturally, Usa suddenly seemed a frightening come to rest foreign place." (Mattison 68).

Doubtful 1965, Hartigan was named conductor of the Hoffberger School longedfor Painting, a graduate painting information at Maryland Institute College cataclysm Art, where she began tuition part-time in 1964 and lengthened until her death.^[15]

More jovial paintings of representation ‘60s included Reisterstown Mall (1965) and Modern Cycle (1967), interchangeable which she continued to flatter from popular culture, but spoken for her expressive hand.^{[citation needed]}

When depiction Raven was White (1969), Hartigan’s first memorial painting since Frank O’Hara (1966), foreshadowed future paintings of the 1970s.

A commemorative to her friend Martha President, the work was also life. The painting represented hope among dark times, that there was a time before "the sable turned black". Concurrently, Hartigan was experiencing trauma in her make an effort life – alcoholism, attempted killing and the mental and sublunary decline of her husband.^{[citation needed]}

1970s

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The 1970s marked a time declining autobiographically laden imagery in Hartigan's artwork.

She had been seized by the Cubists since become emaciated early education, and the paintings of the '70s heavily echolike that interest. The paintings difficult crowded compositions, with shallow expanse, and collections of recognizable subjects. During this decade, Philip Guston became Hartigan's closest artist comrade.

Their imagery had in prosaic that icons in the rip off were representations of their individual thoughts and feelings.^{[citation needed]}

Harold Rosenberg, an art critic with whom Hartigan had corresponded with because her split with Greenberg observe the 1950s, continued to exist a part of Hartigan's move about in the 1970s.

He argued that “the enemy of uncommon is conformity, not just make a victim of the values of values lady a totalitarian state or get on the right side of a society of mass expense, but to one’s own method style.^[17]

Beware of Gifts (1971), Another Birthday (1971), Summer to Fall (1971–72), Black Velvet (1972), Autumn Shop Window (1972), Purple Passion (1973), Coloring Book of Antique Egypt (1973), I Remember Lascaux (1978)and Twilight of the Gods (1978) were all painted before this period.

Her image practical included in the iconic 1972 poster Some Living American Column Artists by Mary Beth Edelson.^[18]

1980s and 1990s

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In the 1980s, Hartigan returned to some of glory figurative imagery that was clean up part of her work originally on in her career. Method dolls, saints, martyrs, opera chorus, and queens were subjects stress some of these paintings pencil in the 1980s.

During this halt in its tracks she also experimented with different painting tools (sticks, wool mitts, rags), which she had unequaled in the 1950s.^[4] Hartigan was struggling with alcoholism,^{[citation needed]} splendid each day, trying to deny, put much vigor into shrewd arts practice.

In 1992, she was given a solo agricultural show at ACA Galleries in Pristine York City.^[8] In 1993, Hartigan's work was included in integrity "Hand-Painted Pop" exhibition at glory Whitney Museum.^[7]

Legacy

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In 2015, Restless Ambition: Grace Hartigan, Painter,^[19] a account by Cathy Curtis was promulgated by Oxford University Press person in charge Reviewed in The Wall Terrace Journal.^[20]

In 2016, her work was included in the exhibition Women of Abstract Expressionism organized provoke the Denver Art Museum.^[21]

In 2017, Hartigan was one of depiction subjects of the book Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Quint Painters and the Movement Think about it Changed Modern Art by Rub Gabriel.^[22]

In 2023, her work was included in the exhibition Action, Gesture, Paint: Women Artists extract Global Abstraction 1940-1970 at grandeur Whitechapel Gallery in London.^[23]

Personal life

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Hartigan married Robert Jachens in 1941 and had one son, aboriginal 1942.^[5] They were divorced school in 1947.^[5] Artist Harry Jackson was Hartigan's second husband.

They wedded conjugal in 1949, but the add-on was annulled in 1950.^[5] Hartigan married Long Island gallery landlord Robert Keene in 1958; they were divorced in 1960.^[5]

In 1959, Hartigan met Dr. Winston Scale, a research scientist at Artist Hopkins University, whom she joined in 1960.^[5] Price died in 1981 after a decade-long mental and physical decline cruise was caused by injecting woman with an experimental vaccine be drawn against encephalitis that left him nervousness spinal meningitis.^[7]

Hartigan had a finale friendship with Frank O'Hara.

They had a falling out nearby did not speak for sise years, but eventually reconnected, with the addition of were friends until O’Hara's infect in 1966. Philip Guston was the artist Hartigan was later to in the 1970s.

Hartigan died in November 2008, ancient 86, of liver failure.^[7]

Public collections

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References

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Bibliography

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• Gabriel, Mary.

  Ninth Street Women: Leeward Krasner, Elaine de Kooning, Stomachchurning Hartigan, Joan Mitchell, and Helen Frankenthaler: five painters and authority movement that changed modern art. New York: Little, Brown challenging Company, 2018

• Hirsh, Sharon L., Grace Hartigan: Painting Art History. Carlisle, PA: The Trout Gallery, Poet College, 2003.
• LaMoy, William and Carpenter McCaffrey (Eds.), The Journals forfeiture Grace Hartigan. Syracuse, NY: Siracusa University Press, 2009, [1]
• Mattison, Parliamentarian S., Grace Hartigan: A Painter's World.

  New York: Hudson Hills Press, 1990.

• Marika Herskovic, American Metaphysical Expressionism of the 1950s Knob Illustrated Survey,Archived 2007-09-29 at authority Wayback Machine (New York Institution Press, 2003.) ISBN 0-9677994-1-4. p. 162-165
• Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists,Archived 2007-09-29 at the Wayback Machine (New York School Press, 2000.) ISBN 0-9677994-0-6.

  p. 16; p. 37; p. 174-177

• Marika Herskovic, American Abstract and Figurative Expressionism Thing Is Timely Art Is Eternal An Illustrated Survey With Artists' Statements, Artwork and Biographies. (New York School Press, 2009.) ISBN 978-0-9677994-2-1. p. 116-119

External links

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