AN ANALYSIS OF THE ARTIST'S WORK

“Again, there is Smith’s reminder that his paintings are not about something, they are the something which waits to meet and involve us.” – Walter Hopps, 1961

In 1936, Hassel Smith arrived in the Bay Area equipped with degrees in Art History and English Literature from a first rate university. Yet, unsure of his future plans of attending graduate school on the East Coast, he enrolled at the CSFA that same year. This proved to be a monumental decision for Smith as he devoted the rest of his life to art making. Though a painter, Smith never abandoned his training in Art History and Literature. Throughout his career, he committed himself to exploring all facets of the arts, particularly the powerful analogs that coexist between the production of art, music, dance, and poetry.

When Smith arrived at the CSFA, it was still very much a conservative institution; yet, he found kinship in one of his instructors, Maurice Sterne. Smith, who at the time knew the basics of art making, learned from Sterne the tenets of modernist painting. Smith has stated that Sterne exposed him to the “[…] mysteries of transferring visual observations in three dimensions into meaningful two-dimensional marks and shapes […]” (Selz 6). In the following years, Smith continued to paint and draw mostly in a figurative, Post-Impressionist style (Nixon 10).

The year of 1947 proved to be a critical juncture in Smith’s development as a painter. Clyfford Still was hired as an instructor at the CSFA and a major exhibition of his color field, Abstract Expressionist paintings was put on at the California Palace of the Legion of Honor in San Francisco. The show had a profound effect on Smith’s ideas on art, causing him to question the currents of modern art (Nixon 16). Ultimately, he responded to Still’s exhibition by taking up abstraction. Smith has stated on the subject that he wished “to feel free to appreciate life without relating it, either its beauties or its ugliness in any necessary way to my painting. My paintings are intended to be additions to rather than reflections of or upon life.” (Hopps 2). His paintings from this period carry swift, improvisational characteristics— jarring colors layered on top of one another and free handed, witty shapes (Temko).

Though he turned to non-objective painting in 1947, as Curator Walter Hopps has suggested Smith never completely abandoned figuration. In the 1960s, Smith painted a series of works that drew heavily from his passion for jazz. He painted expressionist scenes of young teens dancing or “twisting” and even included items from popular culture such as American flags, automobiles and ice cream cones into his scenes. Smith’s love of dance and art can be traced back to his days in Chicago when he first saw the Ballet Russes de Monte Carlo. The synthesis of modern art with experimental music and dance had a profound effect on him. Once in the Bay Area, he fell in love with the abundant availability of jazz bands and clubs. He found parallels between the energy and movement of the musical genre with his own forays into Abstract Expressionism. Many of these figurative pieces were often given peculiar titles that added an “unexpected comic energy” (Duncan 103). According to critique Lawrence Alloway, this “humour, the influence of jazz, and ‘a symbolic use of colour, as in maps, flags and heraldry” tied Smith to a certain “San Francisco style” (Alloway 2).

In 1957, Smith was included in the first exhibition put on by the Ferus Gallery, which became lauded for its important role in fostering the birth of Los Angeles’ modern art scene. Through the gallery, he met fellow artists Peter Voulkos (1924-2002), Billy Al Bengston (b. 1934), and John Altoon (1925-1969). In 1961, the Pasadena Art Museum held a retrospective that solidified Smith’s ties to the Los Angeles art scene (Nixon 21).

From the late 1960s to the early 1980s, Smith created a series of highly structured, often geometric paintings, which he referred to as his “Measured” paintings (Selz 34). With compass and ruler in hand, Smith set out creating acrylic paintings that drew influence from Kasimir Malevich (1878-1935) and the school of Russian Constructivists. The geometric patterns of these large canvases are balanced by Smith’s mastery of color. He sought out to create a controlled method for painting on a canvas, something that is a naturally random act (Nixon 28-29). Again Smith never left his love for music far behind when painting. Smith has stated about this period of work that it “[…] could be closely related to the arts of music and dance as well as to forms not commonly considered to be ART: game boards, flags, maps, rugs, quilts, and so forth.” (Nixon 41). Just as a composer carefully arranges a symphony, Smith methodically arranged each canvas.

By the mid-1980s, he returned to working in an Abstract Expressionist mode. The works of this later period stand apart from his abstract works of decades earlier in that they are less densely painted. Feathery brushstrokes of vivid color appear to dance lightheartedly across the canvas, outlining the sway of the veteran artist’s hand. Whether figural, abstract, or carefully measured, Smith’s paintings invite the viewer to experience not just the finished appearance, but every aspect of how the paint was placed there in the first place.

AWARDS & AFFILIATIONS

1967 Distinguished Service to American Art, National Endowment for the Arts
1981 Outstanding Achievement in Painting, Arts Commission of the City and County of San Francisco

San Francisco Art Association

COLLECTIONS

Atlantic Richfield Company, Los Angeles, CA
Albright-Knox Gallery, Buffalo, NY
Corcoran Gallery of Art, Washington, DC
Crocker Art Gallery, Sacramento, CA
Dallas Museum of Contemporary Art, TX
De Menil Foundation, Houston, TX
De Young Museum, San Francisco, CA
Federal Reserve Bank, San Francisco, CA
Hirshhorn, New York City, NY and Washington, D.C.
Houston Museum of Art, TX
I.B.M., White Plains, NY
Los Angeles County Museum of Art, CA
New York State University Gallery, New York, NY
Nora Eccles Harrison Museum of Art, Utah State University, Logan
Oakland Museum, CA
Palm Springs Desert Museum, CA
Pasadena Museum of California Art, CA
Phillips Gallery, Washington, D.C.
St. Louis Museum of Art, MO
San Francisco Museum of Modern Art, CA
San Francisco Airport, CA
Security Pacific National Bank, CA
Stanford University Museum of Art, Palo Alto, CA
Tate Gallery, London, England
Berkeley Art Museum, University of California, Berkeley, CA
University of California, Davis, CA
University of New Mexico, Albuquerque, NM
Washington University, St. Louis, MO
Whitney Museum of American Art, New York, NY

CHRONOLOGY

1915 Born in Sturgis, Michigan.
1918-1923 Moves to Denver, then Los Angeles, San Mateo and Mill Valley, California.
1932 Graduates from San Mateo Union High School.
1936 Graduates from Northwestern University with a double major in Art History and English. Enrolls at the California School of Fine Arts (now San Francisco Art Institute).
1937 Takes up painting en plein air. Enrolls in drawing classes under the WPA program. Meets Henri Lenoir, Hilaire Hiler, Mat Barnes, and others.
1939 Works under the California State Relief Administration, supervising a single men's caseload on Skid Row in San Francisco.
1941 Accepts the Abraham Rosenberg Fellowship for independent study and moves to the Sierra foothills.
1942-1944 Sent to Arvin, California, to work under the Farm Security Administration of the U.S. Department of Agriculture. Marries June Meyers, a social worker.
1944 Spends the remainder of the war as a timber sealer for the Forest Service along the Macenzie River in Oregon.
1945 Returns to the Bay Area and teaches at the CSFA as an assistant in the lithography workshop.
1945-1951 At the CSFA, teaches alongside Clyfford Still, David Park, Elmer Bischoff, Jean Varda, Clay Spohn, James Budd Dixon, Robert Howard, Walter Landor, DorBothwell, Squire Knowles, Ansel Adams, and Richard Diebenkorn, among others. Visiting instructors included Mark Rothko, Ad Reinhardt, and William Hayter, among others. Students during this period included Frank Lobdell, Deborah Remington, James Kelly, Sonia Gechtoff, Adelie Landis (Bischoff), Lily Fenichel, Roy deForest, Ernest Briggs, John Hultberg, Julius Wasserstein, Jack Jefferson, and Madeleine Dimond (Martin), among others.
1947 Holds his own solo-exhibition at the California Palace of the Legion of Honor. Son, Joseph, is born. Moves with family to Oregon where he works as a timber scaler. Later he teaches at the University of Oregon in Eugene.
1948 Returns to a teaching appointment at the CSFA.
1952 New Director of the CSFA forces Smith and several other instructors to step down. Teaches at Presidio Hill School and the Mission Community Center. Holds weekly seminars at his home.
1953 Acquires apple orchard in Sebastopol, Sonoma County, where he builds a studio and works the orchard while continuing to paint.
1955 Exhibits in Action I, which takes place at the Merry-Go-Round Building on Santa Monica Pier.
1957 Participates in the Ferus Gallery’s innaugral exhibition, meets artist Peter Voulkos, John Altoon, Billy Al Bengston, and Ed Moses, among others. Begins exhibiting at the Dilexi Gallery in San Francisco. June Meyers Smith passes away.
1959 Marries Donna Raffety Harrington, who had two sons, Mark and Stephen. Begins to show in London.
1960 Son, Bruce, is born.
1962 Lives for a year in Mousehole, a Cornish fishing village.
1963-1965 Returns to California as a Lecturer in the Art Department at the University of California at Berkeley.
1965-1966 Moves to Los Angeles and becomes Associate Professor in the Art Department at the University of California at Los Angeles.
1966-1978 Principal Lecturer at West of England College of Art in Bristol (the Bristol Polytechnic), Faculty of Art School, and the Cardiff College of Art, Wales, England. Guest Artist at the San Francisco Art Institute.
1967 Receives "Distinguished Service to American Art" award from the National Endowment for the Arts.
1973-1975 Returns to the Bay Area on two separate occasions to take up a position as a Visiting Professor in the Art Department at the University of California at Davis.
1977-1980 Instructor at the San Francisco Art Institute.
1979-1980 Visiting Professor in the Art Department at the University of California at Berkeley.
1984 Visits the Bay area for an exhibition at the Paule Anglim Gallery.
1985 Returns to the Bay Area for an exhibition at the John Berggruen Gallery.
1986-1987 Creates lithographs and monotypes at Magnolia Press in Oakland.
1988 Awarded the Cunningham Endowed Chair by the College of Notre Dame.
1991 Awarded an Honorary Doctorate by the San Francisco Art Institute.
1988-1997 Executes a prolific period of painting at his home and studio in Rode, Somerset, England.
1997 Forced to stop painting in December when his health begins to fail.
2007 Passes away on January 2nd at Sutton Veny Nursing Home, near Warminster, Wiltshire, England.
2008 In March, the San Francisco Art Institute holds a celebration of his life and work.

BIBLIOGRAPHY

1. Albright, Thomas, Art in the San Francisco Bay Area: 1945-1980, Berkeley and Los Angeles, CA: University of California Press, 1985.
2. Alloway, Lawrence, Hassel Smith: Paintings, Gimpel Fils, London, April 1960.
3. Dimond, Mag, Hassel Smith: Drawings and Poems, San Francisco, CA: 1997.
4. Duncan, Michael, “Hassel Smith at the Sonoma County Museum,” Art in America, Vol. 91, Iss. 7, New York: July 2003, pg. 103.
5. Hassel Smith: A Select Group of Paintings, Dilexi Gallery, San Francisco, November 27- January 8, 1961
6. Hassel Smith: A Selection of Paintings – 1948-1961, The Pasadena Art Museum, March 15 through April 16, 1961.
7. “Hassel Smith Chronology,” Hassel Smith, http://www.hasselsmith.com/biog.html
8. Hassel Smith, Dilexi Gallery, San Francisco, December 8 – January 16, 1964.
9. Landauer, Susan, The San Francisco School of Abstract Expressionism, Berkeley and Los Angeles, CA: Laguna Art Museum and the University of California Press, 1996.
10. Nixon, Bruce Hassel Smith, Davis, CA: John Natsoulas Press, 2006.
11. Temko, Allen, Hassel Smith: Paintings 1954-1975, San Francisco Museum of Art, October 3- November 16, 1975.
12. San Francisco and the Second Wave: The Blair Collection of Bay Area Abstract Expressionism, Crocker Art Museum, 2004.
13. Selz, Peter, Hassel Smith: 55 Years of Painting, Sonoma County Museum of Art, October 25, 2002- January 26, 2003.