Beginning

(1958)

Kenneth Noland, American, b. Asheville, North Carolina, 1924–2010

Magna on canvas, 90 x 95 7/8 in. (228.5 x 243.3 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966

Accession Number: 66.3878

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.

Hirshhorn Museum and Sculpture Garden Collection, Washington Color School/Formalist Abstraction

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