American painter, one of the greatest exponents of post-painterly abstraction, born in Asheville (North Carolina) in 1924.
He studied, in 1964, at the Black Mountain College. In 1950, he would know Morris Louis, with whom he would develop over the next decade the Campos of Color paint, derived from the gestural brushstroke of De Kooning.
Since the mid of the 1950s his painting was organized around the center of the surface of the fabric, in concentric circles inscribed in the square canvas. To 1963 it began to explore with different forms, and was one of the pioneers of the "shaped canvas" ('beaded canvases'), in which the edges of the picture become as important as the Center, creating a unified and total harmony between colour and structure. In the 1970s, it changed to a structure of color areas arranged in diagonals, creating Visual effects when combined with the prospect of drawn by the edge of the box, as in Beam of 1975, where it seems to experiment with the theories of the Renaissance perspective.
In 1964 he participated in the Venice Biennale and in 1965 his work was exhibited at the Gallery of modern art in Washington.
Arnason, H.H. History of Modern art. New York: Abrams, 1986.