Born in Newburgh, New York, on May 31, 1923, Kelly’s family moved to Oradell, New Jersey, when he was a very young boy.
He was the sensitive middle child, often content to spend quiet hours drawing.
Ellsworth Kelly with his brothers, 1930
Prone to illness early on, Kelly spent a lot of time indoors. To improve his health with an outdoor activity, his mother and grandmother introduced him to birdwatching when he was five years old. He took to it immediately.
Kelly's former house in Haworth, New Jersey, 1929-1930
“I remember vividly the first time I saw a Redstart, a small black bird with a few very bright red marks.”
Becoming a Birder
“I believe my early interest in nature taught me how to see.”
Stand in The Corner
In one vivid art memory from his childhood, Kelly recalled being in school working on a class project to make a “drawing of springtime.”
In one vivid art memory from his childhood, Kelly recalled being in school working on a class project to make a “drawing of springtime.”
While attempting to draw a purple iris with green leaves he became increasingly dissatisfied.
When he pressed too lightly, he did not like the soft appearance of the color.
When pressing too firmly, he could not stay
within
Midway through the project, he decided instead to
cut out the
cut out the
Solid
Shapes
Vivid
he achieved with the firm press of his crayon...
...and build his first collage out of solid blocks of color.
The teacher scolded him:
“Kelly, we’re not here to make a mess...
Go stand in the corner.”
Kelly recalled feeling utterly misunderstood and frustrated.
For an artist who would later become celebrated for his sharp lines and exacting forms, this early anecdote mirrors key aspects of Ellsworth’s career experience.
Broad Street Studio, New York, 1956
It shows his propensity to
reject norms and work independently
heeding his own standards.
heeding his own standards.
Kelly with Relief with Blue, Paris, 1950
Kelly with Relief with Blue, Paris, 1950
And it was certainly not the last time he would be misunderstood.
Kelly in a doorway on Cité des Fleurs, 1953
Because his art defied categorization many of his early critics, much like his elementary school teacher, were quick to dismiss Kelly’s work without taking the time to understand it.
Teenage Years. John Travolta’s Mom. And Color.
By the time he entered high school, Kelly was certain he wanted to become an artist.
By the time he entered high school, Kelly was certain he wanted to become an artist.
Photograph from Kelly's 1941 Yearbook
Kelly selling caricatures at Doug Morris High School, 1941
At age 17, he was already exhibiting an artistic confidence.
Experimenting with various
styles such as American
Regionalism, some of Kelly’s
high school artwork reflected
the influence of Thomas Hart
Benton and Grant Wood.
Other examples of his
paintings were reminiscent
of Precisionist artists like
Charles Sheeler and Charles
Demuth.
Experimenting with various
styles such as American
Regionalism, some of Kelly’s
high school artwork reflected
the influence of Thomas Hart
Benton and Grant Wood.
Other examples of his
paintings were reminiscent
of Precisionist artists like
Charles Sheeler and Charles
Demuth.
Experimenting with
various styles such as
American Regionalism,
some of Kelly’s high
school artwork reflected
the influence of Thomas
Hart Benton and Grant
Wood. Other examples
of his paintings were
reminiscent of
Precisionist artists like
Charles Sheeler and
Charles Demuth.
Experimenting with
various styles such as
American Regionalism,
some of Kelly’s high
school artwork reflected
the influence of Thomas
Hart Benton and Grant
Wood. Other examples
of his paintings were
reminiscent of
Precisionist artists like
Charles Sheeler and
Charles Demuth.
Kelly's edition of Kent's book, which he kept since childhood
He also found much inspiration in a book his mother gave him, “World-Famous Paintings” edited by Rockwell Kent.
Early Watercolor Explorations
Willoughby Ave, Brooklyn, 1941
Supply Dump, Fort Meade, MD, 1943
Barn, 1955
His First Recorded Painting
Grain Elevator, Oradell, 1940
As he continued honing his artistic skills in school, he also explored other creative expressions —
such as acting
Kelly acting in a school performance of Our Town, 1941
His drama teacher happened to be
(Yes … John’s mom)
She was a very encouraging mentor.
One day in drama class, Kelly confidently delivered a piece from Hamlet.
Helen was delighted and promptly declared: “We have an actor here in our midst.”
Though Kelly’s own mother was an avid fan of theater, his parents refused his requests to attend drama school after graduation.
Kelly with his mother, Florence Kelly, 1948
1941:
Faced with Kelly’s insistence on attending either art school or drama school, his parents finally agreed to send him to
...but only if he studied commercial art.
Pratt Institute Brooklyn, New York:
Munsell Color Charts and Structural Workbooks, 1942
At Pratt, he began to explore form and color more deeply.
“It was the first time that I
realized that I preferred
all the spectrum colors
in their strongest
chroma position, and
the strongest chroma
color has guided my
colors selections for all
my works ever since.”
Works created between 1963 and 2015
Ghost Army
After he had completed just three semesters at Pratt, the attack on Pearl Harbor and World War II fighting compelled Ellsworth to volunteer for service.
After he had completed just three semesters at Pratt, the attack on Pearl Harbor and World War II fighting compelled Ellsworth to volunteer for service.
Kelly in uniform, New Orleans, 1943
In 1943, he was enlisted in a Camouflage Engineer Battalion.
Later this unit became known as the
Ghost
Army
Their mission was to divert
German forces away from the
location of American troops by
creating dummy artillery, painted
inflatable jeeps and tanks, fake
radio transmissions, and more
military make-believes.
One of Kelly's main tasks was to produce silkscreen posters for the American troops that illustrated the various camouflage techniques used for painting decoys.
Kelly screen printing posters, Fort Meade, Maryland, 1943
“They chose me…because I immediately caught on – we were abstracting nature.”
During this time on the front lines in Europe, Kelly’s decision about his post-war career shifted away from commercial art, as his parents had wanted.
Kelly's Sketchbook #3, US Army in Germany, 1945
Kelly's Sketchbook #3, US Army in Germany, 1945
Kelly's Sketchbook #3, US Army in Germany, 1945
Kelly's Sketchbook #3, US Army in Germany, 1945
Kelly's Sketchbook #3, US Army in Germany, 1945
Kelly's Sketchbook #3, US Army in Germany, 1945
Kelly's Sketchbook #3, US Army in Germany, 1945
Kelly's Sketchbook #3, US Army in Germany, 1945
He knew he had to be his own kind of artist.
Self-portrait, Paris, 1944
GI Bill to Boston
After his discharge from the army in 1945, Kelly attempted to hitchhike from Florida to North Carolina, to attend Black Mountain College where he would have studied painting under Josef Albers.
After his discharge from the army in 1945, Kelly attempted to hitchhike from Florida to North Carolina, to attend Black Mountain College where he would have studied painting under Josef Albers.
This road trip proved futile. Instead he took advantage of a free plane ride for GIs to New York.
Soon after, he enrolled in the Boston Museum School (now called The School of the Museum of Fine Arts).
Self-Portrait with Bugle, 1947
Self-Portrait with Thorn, 1947
While there, he painted some of his most remarkable early self-portraits:
He also exhibited his painting Boy in Tub, 1947 in his first group show at Boris Mirski Gallery in Boston...
where he met his lifelong friend Ralph Coburn.
Because his parents refused to support his career choice, Kelly’s college studies were made possible by the
G.I. Bill of Rights
which covered tuition fees and a monthly stipend.
President Roosevelt signs the G.I. Bill into law on June 22, 1944
Giving veterans the opportunity to attend college, this bill would have far-reaching effects on America and on the arts.
It supported not only Ellsworth Kelly but many of his peers, including
Robert Rauschenberg
Roy Lichtenstein
Kenneth Noland
Robert Rauschenberg
Roy Lichtenstein
Kenneth Noland
and many more.
While in Boston, a few select artists, professors, and critics would profoundly impact Kelly’s work.
While in Boston, a few select artists, professors, and critics would profoundly impact Kelly’s work.
In particular, he was guided by Max Beckmann’s lecture to
“not forget nature.”
And by British art historian and critic Herbert Read’s declaration that easel painting was outdated and that
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