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Julian StanczakRed is a Red, OpArt red geometric acrylic painting1969
1969
About the Item
Julian Stanczak (American, 1928–2017)
Red is a Red, 1969
Acrylic on canvas
Signed, dated and titled verso
28 x 28 inches
29 x 29 inches, framed
OpArt red geometric acrylic painting
Julian Stanczak (American, b. November 5, 1928) was an American painter and printmaker. He was born in Borownica, Poland. When World War II broke out, he was sent to a concentration camp in Perm, Siberia. Stanczak had been right-handed before he lost the use of his right arm for good at the camp. In 1942, after successfully escaping from the camp, Stanczak joined the Polish army-in-exile in Persia but soon deserted from it. After that, the artist spent his time in a Polish refugee camp in Uganda, Africa. This was where Stanczak learned to write and paint with his left hand, and where he took his first private art lessons. He then went to Borough Polytechnic Institute in London before immigrating to the United States in 1950. Four years after his immigration, Stanczak received his BFA from the Cleveland Institute of Art. In 1956, Stanczak became a United States citizen. It was also in 1956 that he received his MFA from Yale University under the training of Josef Albers (German-born American, 1888–1976) and Conrad Marca Relli (American, 1913–2000).
Stanczak's first major solo exhibition took place at the Martha Jackson Gallery in New York. Julian Stanczak: Optical Paintings was named after the Op Art movement. His work was also exhibited in the Museum of Modern Art's 1965 exhibition The Responsive Eye . In the early 1960s, Stanczak took advantage of the use of wavy lines and contrasting colors to make the surface plane of his works more vibrant. The work Provocative Current(1965) is a notable example of this unique style. This style of painting also paved the way for more complex artworks constructed with the rigidity of different geometrical shapes; however, it maintained the softness with many levels of color transparency. Netted Green (1972) is a famous work representing this style. Stanczak uses the same form again and again to produce compositions that reflect his visual experiences. His works are mainly based on the structures of color. In the 1980s and 1990s, Stanczak kept the geometric formation in mind, and produced bright-colored or muted-colored paintings often as pieces in a series such as Soft Continuum(1981).
In 1970, Stanczak was recognized as "Outstanding American Educator" by the Educators of America. He lived and worked in Seven Hills, OH, with his wife, the sculptor Barbara M. Meerpohl before his death on March 29, 2017.
- Creator:Julian Stanczak (1928, American)
- Creation Year:1969
- Dimensions:Height: 29 in (73.66 cm)Width: 29 in (73.66 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Beachwood, OH
- Reference Number:1stDibs: LU176829687592
Julian Stanczak
Julian Stanczak was born in Borownica, Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Anders' Army in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa, Stanczak learned to write and paint left-handed. He then spent some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. He became a United States citizen in 1957, taught at the Cincinnati Academy of Art for 7 years. The Op Art movement was named after his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970. (Wikipedia)
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Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school.
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He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.”
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Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school.
They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages.
At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute).
He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.”
Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...
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