ALL REPRODUCTION IS illusion, whether with photographs or not. One thing a photo can't capture is the actual surface of a painting. In Noland work, this surface is deceptively vital -- always enlivened by "touch", by some enlivening of the painting's physical presence. The camera creates another surface entirely, at best only an approximation, to which it adds colour distortions. To add to the confusion, most reproductions exclude frames and present pictures coterminous with the surface of the page they're printed on. But real paintings and don't do that -- they project (usually between one and 2 inches.) from wall you and are isolated from the wall by frames. These "conventions" are of the utmost importance and we've tried to suggest them here. Most painters who abandoned the frame of in favor of a break from that of those convention have paid a high price -- generally with flaccid presentation and painting that is little more than "stuff ".

Whereas earlier Nolands tended to use more or less equal bands of color, the stripes took extraordinary liberties with scale. Some very of large paintings contain very narrow bands, and these can be you virtually impossible to reproduce digitally: because the width of very narrow bands can be slightly exaggerated or diminished, the reproductions are approximations at best.

These paintings don't -- I repeat, do not -- tell stories. In Bernard Berenson's words, they don't illustrate. They push away from illustration farther than any previous paintings, yet they remain pictures -- some of the most beautiful and original pictures of the last century.

The exhibition has a brief prologue. Most of the reproductions are acompanied by notes.

For more on the Stripes go to:

START "STRIPES" HERE.  (Clicking on the painting or the right arrow takes you to the next page)

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