Life
Marden was born in Bronxville, New York and grew up in nearby Briarcliff Manor. He attended Florida Southern College, Lakeland (1957 to 1958), receiving his BFA from the Boston University, School of Fine and Applied Arts in 1961. Marden earned his MFA from the Yale School of Art and Architecture (1963), where he studied with Esteban Vicente, Alex Katz, Jon Schueler, Jack Tworkov, Reginald Pollack, Philip Pearlstein, and Gabor Peterdi. Among his fellow students were the future artists Richard Serra, Chuck Close, Nancy Graves, Gary Hudson and Robert Mangold.
It was at Yale that Marden developed the formal strategies that would characterize his drawings and paintings in the proceeding decades: a preoccupation with rectangular formats, and the repeated use of a muted palette. In his early work of the 1960s and 1970s, he used simplified means, typically monochrome canvases either alone or in series of panels, diptychs or triptychs. These include the works The Dylan Painting, 1966; "1986" (now in the collection of San Francisco Museum of Modern Art); 1969's Fave (the Jack S. Blanton Museum of Art, University of Texas at Austin); and Lethykos (for Tonto), 1976 (The Museum of Modern Art, New York).
Read more about this topic: Brice Marden
Famous quotes containing the word life:
“I have no doubt that they lived pretty much the same sort of life in the Homeric age, for men have always thought more of eating than of fighting; then, as now, their minds ran chiefly on the “hot bread and sweet cakes;” and the fur and lumber trade is an old story to Asia and Europe.”
—Henry David Thoreau (1817–1862)
“In time, after a dozen years of centering their lives around the games boys play with one another, the boys’ bodies change and that changes everything else. But the memories are not erased of that safest time in the lives of men, when their prime concern was playing games with guys who just wanted to be their friendly competitors. Life never again gets so simple.”
—Frank Pittman (20th century)
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past—the portrayals of family life on such television programs as “Leave it to Beaver” and “Father Knows Best” and all the rest.”
—Richard Louv (20th century)