"Flight, " Expressionist Landscape with Birds Poster by Milton Avery

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Milton Avery
"Flight, " Expressionist Landscape with Birds Poster by Milton Avery
1985

About the Item

"Flight" is a poster from the David Barnett Gallery's show on Milton Avery. A teal sea is seen in the background, in the foreground is a grey and blue ground. Two birds sit on this ground, a bird with a pink wing sits looking towards the left. A yellow bird is further to the right, but also looks towards the left. The most eye catching bird has begun to fly towards the scene, he is in the middle of the piece. Image: 23.75 x 34.5 in Framed: 31.375 x 42 in An American Modern Painter The son of a tanner, Avery began working at a local factory at the age of 16, and supported himself for decades with a succession of blue-collar jobs. The death of his brother-in-law in 1915 left Avery, as the sole remaining adult male in his household, responsible for the support of nine female relatives. His interest in art led him to attend classes at the Connecticut League of Art Students in Hartford, and over a period of years he painted in obscurity while receiving a conservative art education. In 1917 he began working night jobs in order to paint in the daytime. In 1924 he met Sally Michel, a young art student, and in 1926 they married; her income as an illustrator enabled him to devote himself more fully to painting. For several years in the late 1920s through the late 1930s Avery practiced painting and drawing at the Art Students League of New York. Roy Neuberger saw his work and thought he deserved recognition. Determined to get the world to know and respect Avery's work, Neuberger bought over 100 of his paintings, starting with Gaspé Landscape, and lent or donated them to museums all over the world. With the work of Milton Avery rotating through high-profile museums, he came to be a highly respected and successful painter. Avery's work is seminal to American abstract painting while his work is clearly representational, it focuses on color relations and is not concerned with creating the illusion of depth as most conventional Western painting since the Renaissance has. Avery was often thought of as an American Matisse, especially because of his colorful and innovative landscape paintings. His poetic, bold and creative use of drawing and color set him apart from more conventional painting of his era. Early in his career his work was considered too radical for being too abstract; when Abstract Expressionism became dominant his work was overlooked, as being too representational. In the 1930s he was befriended by Adolph Gottlieb and Mark Rothko among many other artists living in New York City in the 1930s-40s. The Phillips Collection in Washington, D.C. was the first museum to purchase one of Avery's paintings in 1929; that museum also gave him his first solo museum exhibition in 1944. Avery was a man of few words. "Why talk when you can paint?" he often quipped to his wife. Their daughter, March Avery, is also a painter. Milton Avery is buried in Artists Cemetery, Woodstock, Ulster County, New York. After his death in 1965, his widow, Sally Avery, donated the artist's personal papers to the Archives of American Art, a research center of the Smithsonian Institution. In 2007, the Archives optically scanned these papers and made them available to researchers as the Milton Avery Papers Online. While supporting himself with factory jobs, Milton Avery studied life drawing and painting at the Connecticut League of Art Students in Hartford (enrolling sometime between 1905 and 1911). In 1917 he began working nights in order to paint in the daytime. The following year he transferred to the School of the Art Society of Hartford. Avery's landscapes and seascapes of the early 1920s use the heavy impasto, light palette, and atmospheric mistiness of the American Impressionists Ernest Lawson and John Henry Twachtman. With his move to New York in 1925, where he encountered the work of Matisse and the pre-Cubist work of Picasso, Avery began to simplify forms into broad areas of close-valued color. Although Avery's art became increasingly abstract, he never abandoned representational subject matter, painting figure groups, still lifes, landscapes, and seascapes. His mature style, developed by the mid-1940s, is characterized by a reduction of elements to their essential forms, elimination of detail, and surface patterns of flattened shapes, filled with arbitrary color in the manner of Matisse. Early in Avery's career, when Social Realism and American Scene painting were the prevailing artistic styles, the semi-abstract tendencies in his work were viewed by many as too radical. In the 1950s, a period dominated by Abstract Expressionism, he was overlooked by critics because of his adherence to recognizable subject matter. Nevertheless, his work, with its emphasis on color, was important to many younger artists, particularly to Mark Rothko, Adolph Gottlieb, Barnett Newman, Helen Frankenthaler, and other Color Field painters. Avery's work is seminal to American abstract painting while his work is clearly representational, it focuses on color relations and is not concerned with creating the illusion of depth as most conventional Western painting since the Renaissance has. Avery was often thought of as an American Matisse, especially because of his colorful and innovative landscape paintings. His poetic, bold and creative use of drawing and color set him apart from more conventional painting of his era. Early in his career his work was considered too radical for being too abstract; when Abstract Expressionism became dominant his work was overlooked, as being too representational.

Creator:
Milton Avery (1885 - 1965, American)
Creation Year:
1985
Dimensions:
Height: 31.375 in (79.7 cm)Width: 42 in (106.68 cm)
Movement & Style:
Expressionist
Period:
1980-1989
Condition:
Gallery Location:
Milwaukee, WI
Reference Number:
Seller: 11169g1stDibs: LU60535513062

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