Anuszkiewicz was impressed with Vasarely's work and realized that there were similarities with his own. Send us a tip using our anonymous form. Despite growing up in a family of modest means, Anuszkiewicz would later recall: "I really had a … Stuart Preston, reviewer for the New York Times, noted in retrospect of the exhibition that: "[s]cientific experimentation" generated "color relationships of the most startling character and with the most unexpected optical consequences...These early abstractions, though tightly controlled, have a sprawling energy that makes them a reasoned equivalence for the freewheeling dynamism of the so-called Action Painters.
He was 89. Magenta Squared is symmetrical and balanced in structure, yet also succeeds in creating a sense of movement and energy through its use of color and line, as well as suggesting organic, natural forms such as peaks and valleys. At his first solo show at the Contemporaries gallery in 1959, not a single work sold for two weeks. The contrasting tones vibrate with inner luminosity, while the use of finely arranged lines to create a topographical effect means that the different sections fluctuate between appearing as figure and ground. Richard continues to inspire me in my own work. Anuszkiewicz was interested in art from an early age and this was something that was encouraged by his father. Near the end of the exhibition, with no sales made, Alfred F. Barr Jr., then director of New York's Museum of Modern Art, bought Fluorescent Complement, after which a slew of prominent collectors, such as Governor Nelson Rockefeller, snapped up paintings, almost selling out the show. However, in his own conception of this phase of his career, it was important to move away from the direct influence of Albers as well as the realism of his very earliest paintings: "[t]he minute I was released from that restriction, things started to happen for me and I felt good. Combining an interest in the nature of perception with investigations into the visual and psychological resonance of color, Richard Anuszkiewicz produces paintings whose vibrant colors and geometric shapes seem to pop and pulsate off of the canvas. That we cannot leads to the heart of the matter: Anuszkiewicz's poetry of radiant indeterminacy.
Anuszkiewicz received a Lee Krasner Award for lifetime achievement in 2000, and today his artworks are held in over 70 institution collections worldwide, including the Metropolitan Museum of Art in New York and the Hirschhorn Museum and Sculpture Garden, Washington, D.C. Anuszkiewicz's mother was proud of her son's accomplishments, but, as Anuszkiewicz later recounted, when she learned of the success of the show, she told him "that if he had stuck to his earlier realistic style, he would have sold more" Barr exhibited Fluorescent Complement at the end of 1960 at MoMA, along with other newly-acquired work, including those of the 'father' of Op Art, the Hungarian-French artist Victor Vasarely. However, he said that "a major difference between their work was that Vasarely composed his paintings in patterns of light and dark, while his were planned arrangements of colors." This tilted quadrilateral seems to hover above the other four, contributing to a tension between impressions of flatness and depth that confounds the mind and eye. The Contemporaries works placed contrasting colors within centralized geometric constructions to create a shimmering, shifting effect. But the majority of his paintings are so subtle and sensitive that they divulge their secrets only gradually as the viewer looks. The paintings employ a vibrant warm-cool color contrast, generating a quality of inner luminosity, though the color combinations used, as compared to some of Anuszkiewicz's previous work, are restricted. Anuszkiewicz’s eye-popping abstractions earned him a following among his artist cohort, but gallery representation initially proved more elusive. At the same time, much of the works' appeal has to do with the autonomous effects of color contrasts and the tricks played by illusory architectonic composition. His exploration of the perceptual boundary between two-dimensional flatness and three-dimensional form itself has a precedent in the design and art of the Renaissance, specifically the trompe l'oeil techniques employed by artists such as Andrea Mantegna. Marriage of Silver and Gold, one of the more monumental works from the Translumina series, consists of two interlocking squares - one blue, one orange - set in axonometric perspective in low relief. Fluorescent Complement, like Anuszkiewicz's Contemporaries show as a whole, signaled the early stirrings of the Op Art movement in North America.
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