Paul Feeley (1910 – 1966) has often been associated with Color Field painters, but his most recognized works, largely made between 1962 and 1965, stand apart from those of his peers for their economy of color and spare compositions. Formal Haut (1965), produced the year before Feeley’s death, features his signature forms, namely a single jack (inspired by the game of jacks) and repeated baluster shapes. Their convex and concave contours interlock in a symmetrical arrangement, centered within the square frame. The simple geometric design is highlighted by an equally uncomplicated palette, limited to just two contrasting colors on unprimed canvas.
Photographed as Part of the Exhibit, The Fullness of Color: 1960s Painting, On Through August 2nd, 2020 at the Guggenheim Museum in Manhattan.
In 1960, Toshinobu Onosato reevaluated his approach to the circle, a form that for much of the previous decade he had presented as monochromatic surfaces whose simplicity was emphasized by surrounding webs of intersecting lines.
Painting A, Detail
According to the artist, dividing the circle through the “the piling up of color planes” allows for better understanding of the shape’s true dimensions. Born from a desire to capture brightness and harmony, works such as Painting A (1961 – 62) vibrate with energy that relates to — but remains separate from — the illusory effects sought by Op artists.
Photographed as part of the exhibit The Fullness of Color: 1960’s Paintings at the Solomon R. Guggenheim Museum in Manhattan