Overview

Simple yet complex, monumental yet intimate, Avery's works confront the viewer directly and defy pictorial conventions of scale to establish a physical relationship with the viewer beyond the confines of the canvas

Keenly aware of the grand landscape tradition, as practiced by Thomas Cole and Albert Bierstadt of the Hudson River School, Avery deliberately chose a non-heroic exploration of the canvas. Accessible and intimate, as if they are views from a kitchen window, Avery’s paintings reject outsized ambition yet leaves us with an enduring sense of place.

 

He managed to enhance the role of nature, not through grandeur, but through evocations of quiet emotion. Using raw canvas and sparse pigment, Avery often applied color more as stain than painted surface, a technique that can be seen as an influence on color field painting. Avery created a world of outlined and interlocking forms to represent the flattened landscape.

 

Throughout his artistic career, color remained the dominant force, especially as he became less concerned with subject details. This brought greater focus to the shapes and colors within them. Avery’s art is liminal - not fully abstract and yet not distinctly figurative. As a consequence, over time, his work has been hard to classify into a single category.

 

Waqas Wajahat

Biography

Born in Altmar, New York, in 1885, Milton Avery moved with his family to Hartford, Connecticut in 1905. After studying at the Connecticut League of Art Students, he worked a succession of night jobs in order to paint during the daytime. Avery moved to New York in 1925 and in 1926 married Sally Michel, whose earnings as an illustrator enabled him to concentrate more fully on painting. His first exhibition in New York was in 1927, though it was not until 1935 that he had his first one-man exhibition, at the Valentine Gallery, New York. In 1944 his first solo museum exhibition opened at the Phillips Memorial Gallery, Washington, DC. In 1952 he visited Europe for the first time, travelling to London, Paris and the French Riviera. A retrospective exhibition opened at the Whitney Museum of American Art, New York, in 1960; a second retrospective was held at the Whitney Museum of American Art in 1982. In 1962 Milton Avery: Painting 1930-1960 by Hilton Kramer, the first monograph on Avery, was published. Milton Avery died on 3 January 1965 in New York, aged 79.

 

Avery pursued an independent and steadfast course throughout his career. Always drawing imagery from the world around him, in particular the landscapes and people he loved, his art is as intimate and accessible as it is towering in its ambition and achievement. With his focus on simplified forms and use of colour as a primary means of expression, in the 1930s he profoundly influenced and won the devotion of fellow artists including future abstract expressionists Mark Rothko, Adolph Gottlieb and Barnett Newman. Rothko in particular admired the “gripping lyricism” of Avery’s work. However, while seeking to express an idea in its simplest form, Avery never sought pure abstraction for himself. Above all, he is an artist who resists categorisation. “I never have any rules to follow,” he stated in 1952, “I follow myself.”

 

Avery’s work is represented in museums and private collections worldwide, including: Albright-Knox Art Gallery, Buffalo, NY; Art Institute of Chicago, IL; Hirshhorn Museum and Sculpture Garden, Washington, DC; Los Angeles County Museum of Art, CA; Metropolitan Museum of Art, NY; Museum of Fine Arts, Boston, MA; Museum of Modern Art, NY; National Gallery of Art, Washington, DC; National Gallery of Australia, Canberra; Philadelphia Museum of Art, PA; The Phillips Collection, Washington, DC; San Francisco Museum of Modern Art, CA; Smithsonian American Art Museum, Washington, DC; Tate, London; Thyssen-Bornemisza Museum of Art, Madrid, Spain; Walker Art Center, Minneapolis, MN; Whitney Museum of American Art, NY; Yale University Art Gallery, New Haven, CT.

Selected Images
  • Milton Avery, Bird and Mountain, 1963
    Bird and Mountain, 1963
    Oil on canvas board
    14⅞ × 29⅞ in. (37.8 × 75.9 cm)
  • Milton Avery, Winding Stream, 1962
    Winding Stream, 1962
    Oil on canvas
    40 x 50 inches
  • Milton Avery, Red Boat in Green Sea, 1960
    Red Boat in Green Sea, 1960
    Watercolor & gouache on paper
    23 x 35 inches
  • Milton Avery, Parade of Trees , 1956
    Parade of Trees , 1956
    Oil on canvas
    30 x 38 inches
  • Milton Avery, Brown Jacket, 1962
    Brown Jacket, 1962
    Oil on board
    24 x 18 inches
  • Milton Avery, Red Anemones, 1942
    Red Anemones, 1942
    Oil on canvas
    36 x 28 inches
  • Milton Avery, Young Writer, 1942
    Young Writer, 1942
    Oil on canvas
    48 x 32 inches
  • Milton Avery, Quivering Trees, 1954
    Quivering Trees, 1954
    Oil on canvas
    48 x 32 inches
  • Milton Avery, Spring, 1941
    Spring, 1941
    Oil on canvas
    33 x 25 inches
  • Milton Avery, Seated Woman in Orange Dress, c. 1930s
    Seated Woman in Orange Dress, c. 1930s
    Gouache on dark green paper
    19 1/2 x 11 1/2 inches
  • Milton Avery, Fishing Wharf, 1957
    Fishing Wharf, 1957
    Watercolor, gouache & oil crayon on paper
    17 x 22 inches
  • Milton Avery, Abandoned Pier, 1957
    Abandoned Pier, 1957
    Watercolor on paper
    20 x 26 inches
  • Milton Avery, Gaspé Village, 1939
    Gaspé Village, 1939
    Oil on canvas
    28 x 36 inches
  • Milton Avery, Untitled (The El), c. late 1920s
    Untitled (The El), c. late 1920s
    Lithocrayon on paper
    38.1 x 30.4 cm
  • Milton Avery, Studio View (Chop Suey), c. 1930s
    Studio View (Chop Suey), c. 1930s
    Watercolor on paper
    22 1/8 x 15 1/4 inches
  • Milton Avery, Railyards, c. 1930s
    Railyards, c. 1930s
    Watercolor on paper
    21 7/8 x 15 1/8 inches
  • Milton Avery, Safe Harbor, 1938
    Safe Harbor, 1938
    Watercolor on paper
    22 x 30 inches
  • Milton Avery, Hills and Fields, 1943
    Hills and Fields, 1943
    Watercolor on paper
    22 x 30 inches
  • Milton Avery, Landscape, 1953
    Landscape, 1953
    22 1/4 x 30 1/2 inches
  • Milton Avery, Bird and Fish, 1952
    Bird and Fish, 1952
    Oil on canvas
    28 x 36 inches
  • Milton Avery, Fish Plate, c. 1930s
    Fish Plate, c. 1930s
    Watercolor on paper
    15 1/4 x 22 5/8 inches
  • Milton Avery, Tugboats in Harbor, c. 1930s
    Tugboats in Harbor, c. 1930s
    Gouache on dark gray paper
    18 x 23 inches
  • Milton Avery, Girl with Wicker Chairs, c. 1930s
    Girl with Wicker Chairs, c. 1930s
    Watercolor on paper
    22 x 15 inches
  • Milton Avery, Gulls in Rippled Sea, 1963
    Gulls in Rippled Sea, 1963
    Oil on canvas board
    15 x 30 inches
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