Beginning
Date
(1958)
Artist
Kenneth Noland, American, b. Asheville, North Carolina, 1924–2010
Provenance
French & Co., New York, to 23 January 1959
Joseph H. Hirshhorn, New York, 23 January 1959-17 May 1966
Gift of the Joseph H. Hirshhorn Foundation, 1966
Exhibition History
FRENCH & COMPANY, New York. Kenneth Noland, 14 October-7 November 1959,
no. 17.
WHITNEY MUSEUM OF AMERICAN ART, New York. Geometric Abstraction in America, 20 March-13 May 1962, no. 67.
THE JEWISH MUSEUM, New York. Kenneth Noland, 4 February-7 March 1965, no. 2.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, Smithsonian Institution,
Washington, DC. "Inaugural Exhibition," 4 October 1974-15 September 1975, no. 770.
ORLANDO MUSEUM OF ART, Florida. Washington Color Painters, 16 December 1990-February 1991.
MUSEUM OF FINE ARTS, Houston. Kenneth Noland: The Concentric Circle
Paintings 1956-1963, 14 November 1993-9 January 1994.
FREDERICK WEISMAN ART FOUNDATION, Los Angeles. Hirshhorn loan, 17 May-fall 2001.
Published References
JUDD, DONALD. "New York Letter," Art International, IX/3 (April 1965), p. 74.
HARRISON, JANE. "On Color in Kenneth Noland's Painting," Art International, IX/5
(June 1965), pp. 36-37.
AARONS, LEROY. "Sound the Hirshhorn," The Washington (DC) Post-Potomac, (19
March 1967), p. 19.
JACOBS, JAY. "Collector: Joseph H. Hirshhorn," Art in America, LVII/4 (July-August
1969), p. 65.
JACOBS, JAY. "Quality as Well as Quantity: Joseph H. Hirshhorn," The Collector in
America (New York: Viking, 1971), p. 77.
LERNER, ABRAM et al. The Hirshhorn Museum and Sculpture Garden (New York:
Harry N. Abrams, 1974), pp. 520, 730.
HUBBARD, BARBARA MARX. "Women as Futurists," American Association of
University Women Journal, LXVIII/6 (April 1975), p. 5.
HUDSON, ANDREW. "Washington Letter," Art International XIX/6 (15 June 1975), p. 98.
GLUBOK, SHIRLEY. The Art of America Since World War II (New York: Macmillan,1976), p. 3 [incorrect picture].
RUSSELL, JOHN. The Meanings of Modern Art, Volume 11: The Great Divide (New
York: Museum of Modern Art, 1975), fig. 38, p. 37.
CARMEAN, E.A. Jr. "Morris Louis and the Modern Tradition: I: Abstract Expression,"
Arts, LI/1 (September 1976), pp. 72, 74.
CARMEAN, E.A. Jr. Morris Louis: Major Themes and Variations (Washington, DC: National Gallery of Art, 1976), fig. 4.
DANIELS, FLORENCE MARGARET. Why Art? (Chicago: Nelson-Hall, 1978), fig. 175 [incorrect information on label].
RICHARD, PAUL. "Portrait: Washington, DC," Portfolio (June/July 1979), pp. 82-83.
RUSSELL, JOHN. The Meanings of Modern Art (New York: Museum of Modern Art,
Harper & Row, 1981).
PARK, EDWARDS. Treasures of the Smithsonian (Washington, DC: Smithsonian Books, 1983).
SHERMAN, MARILYN. Reading Literature: Yellow Level (Evanston, Illinois: McDougal, Littell & Company, 1986), cover.
BATES, SUSAN, ed. A Picture Tour of the Smithsonian (New York: American Legacy Press, 1987), p. 41.
WHEELER, DANIEL. Art since Mid-Century: 1945 to the Present (New York: Vendome Press, 1991).
UNSIGNED. "Appendix: Suggested Works of Art and their Sources," English Teaching Forum 30/3 (July 1992), p. 28.
FORT WAYNE MUSEUM OF ART, Indiana. Alma W. Thomas: A Retrospective of the Paintings (San Francisco: Pomegranate, 1998), fig. 25, p. 61.
ZILCZER, JUDITH. "Light Coming on the Plains: Georgia O'Keeffe's Sunrise Series," artibus et historiae no. 40/XX (1990), fig. 18, p. 205.
AQUIN, STEPHANE, et al. Hirshhorn Museum and Sculpture Garden: The Collection (New York: DelMonico Books, 2022), pl. 176, p. 193.
See more items in
Hirshhorn Museum and Sculpture Garden Collection
School
Washington Color School/Formalist Abstraction
Credit Line
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966
Data Source
Hirshhorn Museum and Sculpture Garden
Accession Number
66.3878
Type
Painting
Medium
Acrylic on canvas
Dimensions
90 x 95 7/8 in. (228.5 x 243.3 cm)
