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Carl HoltyAbstracted pair of oil paintings by Carl Holty1947
1947
$9,750
£7,403.96
€8,558.55
CA$13,702.70
A$15,257.94
CHF 8,068.76
MX$185,679.76
NOK 101,708.44
SEK 95,824.30
DKK 63,874.70
About the Item
These artworks by Carl Holty are only sold as a pair. Each painting measures 9" x 11" and framed 18" x 20.25" x 2.5"
The red and gold work is signed "Carl Holty" in the lower right.
About this artists: Carl Holty was awakened to his interest in art as a child through visits to the Layton Art Gallery of Milwaukee, and began painting lessons with Friedrich Wilhelm Heine at a young age. Though born in Freiburg, Germany, in 1900, he was raised in Wisconsin and enrolled at Marquette University. Before long, Holty abandoned his pre-medical studies in order to pursue art. He spent a summer at the School of the Chicago Art Institute in Saugatuck, Michigan, and set off for New York in 1920. He then studied at the National Academy of Design under Francis Coates Jones.
Holty continued his studies abroad, and at the recommendation of friend Vaclav Vytlacil enrolled at the Munich Academy with Hans Hofmann. Hofmann was a major influence, and encouraged Holty’s life-long curiosity in abstraction. Holty moved to Paris in 1930, and became close to Piet Mondrian, whose work he greatly admired. He also was drawn to the flattened imagery explored by cubists Juan Gris and Roger de la Fresnaye. Robert Delaunay nominated him to become the second American member of the Abstraction-Creation artist group, following Alexander Calder.
Upon his return to New York in 1936, Holty was part of a group of modern artists that included Joan Miro, Edvard Munch, Gino Severini, and Brassai. Critic Harold Rosenberg championed his work, and Holty became a founding member of the American Abstract Artists group, serving as their second chairman. He also lectured widely, with numerous artist-in-resident positions. At the American Artists’ School in New York, Ad Reinhardt was among his students. He became a Professor Emeritus at Brooklyn College, after entering the art department there in 1964. His talents also extended to the written word, completing a brief memoir of Mondrian and discussions of painterly creativity. Together with Romare Bearden, he published “The Painter’s Mind.”
Holty exhibited consistently until his death in 1973, including numerous showings at the Whitney Museum of American Art. His work underwent many stylistic shifts over the years, though he maintained a vibrant and arresting color palette. In the 1940s he became more interested in biomorphic shapes alike to Joan Miró’s, transforming the aims of his rhythmic compositions. His abstract creations maintained references to the natural world, with titles alluding to the influence of reality. With his many experimentations and shifts in technique, Holty demonstrated a belief in the pliability of modern art to suit many types of visual expression.
Written by Zenobia Grant Wingate
- Creator:Carl Holty (1900 - 1973, American)
- Creation Year:1947
- Dimensions:Height: 9 in (22.86 cm)Width: 7 in (17.78 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good condition, appropriate for the age of this artwork.
- Gallery Location:Hudson, NY
- Reference Number:Seller: HoCa0081stDibs: LU2465213424562
Carl Holty
Born in Freiburg, Germany, Carl Holty moved with his parents to a Germain community in Milwaukee when he was an infant. He began studying art at the Milwaukee Normal School under instructors who had trained in Europe and later continued his studies at the Art Institute of Chicago. In 1919, following a summer at an artists' colony in Saugatuck, Michigan, Holty enrolled at Parsons School of Design and the National Academy of Design, both in New York. He briefly considering entering medical school, his father’s profession, though with the help of his grandfather, returned to Germany to continue his art education. It was at Hans Hofman’s school that Holty would be introduced to the principles of modernist composition and ideas in painting and drawing, an influence he would consider his main focus throughout his career. Hofmann "first opened my eyes to the plastic nature of drawing." Holty once recalled. Displaying no interest in the predominant style of expressionism, popular in Germany at the time, Holty focused on the tenants of Cubism, Fauvism, and Futurism which lead him, in 1928, to relocate to Paris. Holty quickly became part of the active artistic community in the nation’s capital associating with many of the major figures of international avant-garde art including Miro, Mondrian, Arp, and Delaunay, the latter of which sponsored Holty to become one of only two American members of the Abstraction-Creation group founded by Theo Van Doesburg. Holty returned to America in 1936 becoming a significant figure in the development of abstract art. He reconnected with his old mentor Hans Hofmann and developed friendships with many of the City’s rising artist’s including Vaclav Vytlacil whom he had known in Paris. It was this group that formed the American Abstract Artists association, where Holty would serve as chairman in 1938 and with whom he’d exhibit with through 1944. It was during this period Holty abandoned Cubism for Biomorphism, leaving behind edges to explore shapes and forms that ultimately lead to his color field paintings of the mid 1950s and through the remainder of his career.
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