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Leon Polk SmithWerkubersicht/Work-Overview A1947-1987
1947-1987
$8,500List Price
About the Item
- Creator:Leon Polk Smith (1906-1996, American)
- Creation Year:1947-1987
- Dimensions:Height: 46.5 in (118.11 cm)Width: 32 in (81.28 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU46410882
Leon Polk Smith
Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting, which includes such artists as Bourgoyne Diller, Fritz Glarner, Al Held, and Ellsworth Kelly. Born near Chikasha, a Native American territory later annexed by the U.S. as the state of Oklahoma, Smith’s parents, who were of Cherokee ancestry, raised him with both a strong sense of his heritage and an abiding respect for the land. Art would eventually draw Smith to New York where he would quickly embrace elements of geometric abstraction in his work. His visual vocabulary was influenced by such historical figures as Hilla Rebay, both an abstract painter and the first director of the Solomon R. Guggenheim Museum, and the Dutch De Stijl painter Piet Mondrian. However, many of Smith’s hard-edge compositions could be viewed as distillations of imagery drawn from the Oklahoma landscape and Native American art forms of his youth. Polk Smith’s exploration of non-objective imagery in the late 1950s put him at the forefront of movements including Color Field, Minimalist, and Hard Edge painting. Robert Buck, former director of the Brooklyn Museum, described Polk Smith as “an influential pioneer in the development of American Modernism”, adding, “He created a new vocabulary in painting that has had a far-reaching influence on subsequent generations of artists.”
One of Smith’s earliest and most successful forays into printmaking came in 1968 when he received a grant to work at June Wayne’s Tamarind Lithography Workshop in Los Angeles. Smith would create sixteen untitled prints at Tamarind. These bold and vibrant prints incorporate a variety of his painting motifs, many of which relate to his Correspondence Series of 1960-1967, with their interplay of organic forms on solid color backgrounds. Prints would continue to be an important aspect of Smith’s creative output. The artist would go on to make over 50 print editions in this country and Europe.
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2012, 2010, 2009 Andre Zarre Gallery, NYC
2010 Norfolk Library, Norfolk, CT
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2006 Harrison Street Gallery, Frenchtown, NJ
2004 The Mercy Gallery. Loomis Chafee, Windsor, CT.
2004,2002, 1998 Andre Zarre Gallery, NY C, National Arts Club, NYC
2000 Principle Gallery, Alexandria, VA
1998 Nassau County Museum of Fine Art, Roslyn, NY
1997 Andre Zarre Gallery, NYC
1996 North Winds, Port Washington, NY
1994, Andre Zarre Gallery, NYC
1984 Ana Sklar Gallery, Miami, FL
1983 Andre Zarre Gallery, NYC
1982 Everson Museum, Syracuse, NY, Andre Zarre Gallery, NYC
1981 Dubins Gallery, Los Angeles, CA, Zenith Gallery, Pittsburgh, PA
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