Garden of Delight, 1971, a/c, 87x72 inches, exhibited: David Whitney Gallery NYC, May 1971, Four Seasons Restaurant, Seagram Building, NYC, 1975-1984, collection:Philip Johnson, (re-acquired by the artist, 1985).
Landfield is best known for his abstract landscape paintings, and has held more than seventy solo exhibitions and more than two hundred group exhibitions. In 2011 he was described by the LewAllen Gallerie as "at the forefront of contemporary art...one of the best painters in America."[1][2]
Early career
Born and raised in Pelham Parkway in the Bronx, Landfield first exhibited his paintings in Manhattan in 1962. He continued his study of painting by visiting major museum and gallery exhibitions in New York during the early sixties and by taking painting and drawing classes at the Art Students League of New York and in Woodstock, New York. He graduated from the High School of Art and Design in June 1963. He briefly attending the Kansas City Art Institute before returning to New York in November 1963. At sixteen Landfield rented his first loft at 6 Bleecker Street near The Bowery (sublet with a friend from the figurative painter Leland Bell), during a period when his abstract expressionist oil paintings took on hard-edged and large painterly shapes. In February 1964, Landfield traveled to Los Angeles; and in March he began living in Berkeley where he began painting Hard-edge abstractions primarily painted with acrylic. He briefly attended the University of California, Berkeley and the San Francisco Art Institute before returning to New York in July 1965.[3]
Mid period
From 1964 to 1966 he experimented with minimal art, sculpture, hard-edge geometric painting, found objects, and finally began a series of 15 - 9' x 6' mystical "border paintings". After a serious setback in February 1966 when his loft at 496 Broadway burned down, he returned to painting in April 1966 by sharing a loft with his friend Dan Christensen at 4 Great Jones Street. The Border Painting series was completed in July 1966, and soon after architect Philip Johnson acquired Tan Painting for the permanent collection of The Sheldon Memorial Art Gallery in Lincoln, Nebraska.
Ronnie Landfield and Border Painting 8, 1966, photo by Tom Gormley NYC. July 1966
In late 1966 through 1968 he began exhibiting his paintings and works on paper in leading galleries and museums. Landfield moved into his loft at 94 Bowery in July 1967;[4] there, he continued to experiment with rollers, staining, hard-edge borders, and painted unstretched canvases on the floor for the first time. Briefly in 1967-1968 he worked part-time for Dick Higgins and the Something Else Press.[5]
In October 1969 he had his first one-man exhibition at the David Whitney Gallery in NYC, featuring works of that period which were partially inspired by Chinese Landscape painting. His painting Any Day Now, 1969, 108 x 93 inches was acquired by the Whitney Museum of American Art. His painting Diamond Lake 1969, 108 x 168inches, was acquired from Philip Johnson by the Museum of Modern Art in 1972 and was installed in the lobby of MoMA for several months.[10] His painting Elijah 1969, 108 x 55inches was later exhibited in Beijing, China in the early 1990s; and it is currently on view in Havana, Cuba.
During 1970 Landfield participated in a three-person show in New York City at the David Whitney Gallery and he had solo exhibitions in Cleveland, St. Louis and in Corona Del Mar, California. In 1971 he held his second solo exhibition at the David Whitney Gallery in New York City. From that exhibition his painting Chinese Winter, 108 x 88 inches was acquired by the Rhode Island School of Design Museum of Art, and his painting Storm Thread, 108 x 94 inches, was acquired by the Smith College Museum of Art. Landfield joined the Andre Emmerich Gallery in April 1972 one month after the David Whitney Gallery closed in March 1972.
1973 to 1993
Rite of Spring, 1985, a/c, 79x112 inches, (exhibited: The Brunnier Museum, Ames Iowa, 1988).
Landfield traveled throughout the southwest in 1973 and again in 1975. With his wife and artist friends Peter Young and Carmen Megeath he camped, lived and painted dozens of paintings on canvas and limestone in the mountains outside Zion National Park in southern Utah. He taught Fine Arts at the School of Visual Arts from 1975 until 1989. For ten years from 1975 until 1984 four of Landfield's paintings from the collection of Philip Johnson were installed in the Four Seasons Restaurant in the Seagram Building on Park Avenue between 52nd and 53rd Streets in Midtown Manhattan, on the so-called Mark Rothko wall.
During the early 1970s to the early 1990s many of Landfield's major paintings entered important public collections. In 1970 his painting St. Augustine, 1968, 108 x 120 inches was acquired by the Norton Simon Museum in Pasadena;[11] in 1971 Shenandoah (for Eva Hesse) 1970, 90 x 113 inches, was acquired by the Walker Art Center in Minneapolis;[12] in 1972, his painting Rain Dance III, was acquired by the Hirshhorn Museum and Sculpture Garden in Washington, DC,[13] and his painting From Portal to Paradise, 1982, 107 x 78 inches, was acquired by the Metropolitan Museum of Art in 1983, among dozens of others.[14] In 1989-1990 Landfield began correspondence with the late art historian, Professor Daniel Robbins, about the neglected historical understanding of abstract painting in New York since the mid-1960s. Landfield began extensive writing and lecturing about abstract painting from the late 1960s to the mid-1970s.
In 1994 Landfield presided over two public panel discussions at the New York Studio School and the Tenri Institute both in Manhattan called Cool and Collected or Too Hot to Handle. In 1995 he curated Seven Painters at the Nicholas/Alexander Gallery in SoHo, an exhibition that featured seven important abstract painters whose careers began in the mid to late 1960s, some of whom hadn't been shown for many years. In 1996 Landfield had a solo exhibition in Sapporo, Japan and lectured there on American art. In 1997 he aided colleague Ronald Davis's creation of an educational website highlighting abstract art from the 1960s.[15] He was represented by the Salander/O'Reilly Gallery in New York from 1997 until 2007. In October 2005 he had a solo exhibition of his paintings accompanied by a solo show of sculpture by Peter Reginato at the Heidi Cho Gallery in Chelsea.[16]
In 2007 Landfield had a retrospective exhibition Ronnie Landfield: Paintings From Five Decades, at the Butler Institute of American Art[17] Later that year, he had an exhibition of recent paintings entitled Toward Monochrome at the Heidi Cho Gallery in Manhattan.[18] Landfield has exhibited his work in important institutions and galleries for nearly five decades. Currently he lives and works in TriBeCa, and teaches at The Art Students League of New York; during a recent lecture there he said "It's important for maximum freedom for an artist, to stay under the radar for as long as possible". From 2007 until 2016, his work has been exhibited at the Stephen Haller Gallery in New York City and LewAllen Galleries in Santa Fe, New Mexico. He currently is represented by the Findlay Galleries in New York and Florida. He draws, paints and writes left-handed. Landfield's two sons are artists who live in New York: Matthew Hart Landfield is an actor, writer and director,[19] and Noah Landfield is a painter and musician.[20]
At the time of his exhibition at the Butler Institute of American Art in 2007, Landfield was referred to as "one of the best painters in America and has been since he first came on the scene in the 1960s."[21] Louis Zona, director of the institute, says "To stand in front of a Landfield painting is to be transported into a world where color feeds upon color and every inch of the canvas is considered ... Ronnie Landfield is, pure and simple, one of the best painters in America."[22]
Landfield's show Where it All Began was the debut exhibition at the gallery space of the High School of Art and Design in the fall of 2012.[23] In late October 2012 Landfield's home and studio in Tribeca was adversely affected by Hurricane Sandy.[24][25][26] In the fall of 2013 his paintings were included in an exhibition called Come Together: Surviving Sandy, Year One curated by Phong Bui and The Daedalus Foundation.[27][28][29]
Most recently, he has been under the representation of Findlay Galleries, and has had his work in several group and one-man shows. In January 2018, he participated in a live discussion with Michael Rips, the director of the Art Students League of New York, about his life and his art at Findlay Galleries.
Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."
Lyrical abstraction is either of two related but distinct trends in Post-war Modernist painting:
The Park Place Gallery was a contemporary cooperative art gallery, in operation from 1963 to 1967, and was located in New York City. The Park Place Gallery was a notable as a post-World War II gallery for both its location and that it supported a group of artists working with geometric abstraction and space.
Friedel Dzubas was a German-born American abstract painter.
Peter Reginato, is an American abstract sculptor and painter.
Ronald "Ron" Davis is an American painter whose work is associated with geometric abstraction, abstract illusionism, lyrical abstraction, hard-edge painting, shaped canvas painting, color field painting, and 3D computer graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions.
Dan Christensen, was an American abstract painter He is best known for paintings that relate to Lyrical Abstraction, Color field painting, and Abstract expressionism.
Peter Ford Young is an American painter. He is primarily known for his abstract paintings that have been widely exhibited in the United States and in Europe since the 1960s. His work is associated with Minimal Art, Post-minimalism, and Lyrical Abstraction. Young has participated in more than a hundred group exhibitions and he has had more than forty solo exhibitions in important contemporary art galleries throughout his career. He currently lives in Bisbee, Arizona.
Norman Wilfred Lewis was an American painter, scholar, and teacher. Lewis, who was African-American and of Bermudian descent, was associated with abstract expressionism, and used representational strategies to focus on black urban life and his community's struggles.
Irving Kriesberg was an American painter, sculptor, educator, author, and filmmaker, whose work combined elements of Abstract Expressionism with representational human, animal, and humanoid forms. Because Kriesberg blended formalist elements with figurative forms he is often considered to be a Figurative Expressionist.
20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Stanley Boxer was an American artist best known for thickly painted abstract works of art. He was also an accomplished sculptor and printmaker. He received awards from the Guggenheim Fellowship and the National Endowment for the Arts.
Carol Lorraine Sutton is a multidisciplinary artist born in Norfolk, Virginia, USA and now living in Toronto, Ontario, Canada. She is a painter whose works on canvas and paper have been shown in 32 solo exhibits as well as being included in 94 group shows. Her work, which ranges from complete abstraction to the use of organic and architectural images, relates to the formalist ideas of Clement Greenberg and is noted for the use of color. Some of Sutton paintings have been related to ontology.
Stephen Greene was an American artist known for his abstract paintings and in the 1940s his social realist figure paintings.
Thornton Willis is an American abstract painter. He has contributed to the New York School of painting since the late 1960s. Viewed as a member of the Third Generation of American Abstract Expressionists, his work is associated with Abstract Expressionism, Lyrical Abstraction, Process Art, Postminimalism, Bio-morphic Cubism and Color Field painting.
John Millard Ferren was an American artist and educator. He was active from 1920 until 1970 in San Francisco, Paris and New York City.
Sidney Gross was an American artist and painter. His early style was influenced by the Social realism. He also drew on the Surrealist Movement that was just beginning the year he was born. By the time he was twenty, he was painting distinctively urban surrealism, while producing critically admired portraits, something he continued to do during his lifetime.
Gary Bower is an American artist born in Dayton, Ohio, on May 10, 1940. He received his undergraduate and graduate degrees from Ohio State University.
Victor George Kord is an American painter and educator. He currently maintains a studio and exhibits in New York City. He previously served as art department chair for several major universities, and remains professor emeritus of painting at Cornell University Department of Art.
James Little is an American painter and curator. He is known for his works of geometric abstraction which are often imbued with exuberant color. He has been based in New York City.
↑ High on Rebellion: Inside the Underground at Max's Kansas City, by Yvonne Sewall-Ruskin, foreword by Lou Reed, Thunder's Mouth Press NYC. 1998, pp.2-105
Perspectives, lecture: Ronnie Landfield and Stephen Polcari, Jackson Pollock's One 1948, El Greco's View of Toledo and Willem de Kooning's Painting 1948. Art Students League of New York, tape on file at the ASL, January 5, 2006.
Glueck, Grace, Color Coded, Ronnie Landfield and Peter Reginato, at the Heidi Cho Gallery, Chelsea, NYC exhibition review, The New York Times, Art in Review, Friday, November 4, 2005
Wilkin, Karen. At the Galleries, Seven Painters, Exhibition review, Partisan Review, 1996, #1, pp.91–93.
Monte, Jim. Seven Painters at Nicholas Alexander, Exhibition review, Art in America, May, 1996, p.113.
Karmel, Pepe. Seven Painters, Exhibition review, New York Times, November 17, 1995, p.C30.
Landfield, Ronnie, In The Late Sixties, 1993–95, and other writings - various published and unpublished essays, reviews, lectures, statements and brief descriptives at abstract-art.com.
Cool and Collected or Too Hot to Handle Panel Discussion, Tenri Cultural Institute. New York Panelists included: Ronnie Landfield, Klaus Kertess, Ellen Handy, Joan Snyder, and Karen Wilkin as moderator. Sponsored by Triangle Artists Workshop, tape on file, 1994.
Cool and Collected or Too Hot To Handle. A Modernist Response to Post-Modernism, Panel Discussion, text on file, New York Studio School, New York Panelists included: Ellen Handy, William Pettet, John Griefen, Peter Reginato, and Ronnie Landfield as moderator, 1994.
Negroponte, Diane, Contemporary American Artists, Exhibition Catalogue, US Embassy, Manila, the Philippines, 1994.
The Landscape in Twentieth-Century American Art, Selections from the Metropolitan Museum of Art, Rizzoli, NY 1991, p.165.
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