Walter Darby Bannard

Walter Darby Bannard
Born (1934-09-23)September 23, 1934
New Haven, Connecticut, U.S.
Died October 2, 2016(2016-10-02) (aged 82)
Miami, Florida, U.S.
Nationality American
Education Phillips Exeter Academy, Princeton University
Known for Abstract painting
Movement Modernism, Lyrical Abstraction, Minimalism, Formalism (art), Post-painterly Abstraction

Walter Darby Bannard (September 23, 1934 – October 2, 2016) was an American abstract painter.


Bannard was born in New Haven, Connecticut and attended Phillips Exeter Academy (class of 1952)[1] and Princeton University, where he struck up a friendship and working relationship with Frank Stella, who was also interested in minimalist abstraction. He was associated with Modernism, Lyrical Abstraction, Minimalism, Formalism (art), Post-painterly Abstraction and Color Field painting.

Bannard was awarded a Guggenheim Fellowship in 1968.

Bannard’s first solo show was at the Tibor de Nagy gallery in January, 1965 and he had exhibitions there until 1970. He began showing at the Lawrence Rubin Gallery, and then in 1974 at the Knoedler Contemporary Gallery, where he showed for the next 15 years. Currently he shows at the Loretta Howard Gallery and the Berry Campbell Gallery in New York City, the Daniel Weinberg Gallery in Los Angeles and the Center for Visual Communication in Miami, Florida. He has exhibited in numerous museums and galleries nationally and internationally. In Europe, he is exclusively represented by Roberto Polo Gallery in Brussels. Bannard's last solo exhibition was within the context of Painting After Postmodernism | Belgium - USA, curated by Barbara Rose, and organised by Roberto Polo Gallery in collaboration with the city of Brussels. This venue opened at the historic Vanderborght building in Brussels on September 14th, 2016. Bannard had close to a hundred solo exhibitions, was included in several hundred group shows, and is represented in the collections of all the major New York museums and many others around the world. He was a prolific writer on art with over a hundred published essays and reviews; Bannard has taught, lectured and participated in panel discussions, and has been a Co-chair of the International Exhibitions Committee of the National Endowment for the Arts.

Bannard was Professor and Head of Painting of the Department of Art and Art History at the University of Miami. Bannard died in Miami, Florida on October 2, 2016 at the age of 82.[2]



Bannard's paintings from 1959 to 1965 contained few forms, as little as a single band painted around a field of color, and then developed into somewhat more complex geometric forms by the mid-1960s. The critic Phyllis Tuchman wrote about these works, "These colors are still radiant. And the artist’s pale palette is as uniquely personal today as it was fifty years ago. You can’t even apply a name to his hues."[3]

In the late 1960s the forms dissolved into pale, atmospheric fields of color applied with rollers and paint-soaked rags. He began using the new acrylic mediums in 1970 and his paintings evolved into colorful expanses of richly colored gels and polymers applied with squeegees and commercial floor brooms.[4]


Bannard's numerous essays appeared in Artforum, Art in America, and many other publications, including museum catalogs. He curated and wrote the catalog for the first comprehensive retrospective exhibition of the paintings of Hans Hofmann, at the Hirshhorn Museum in Washington, D.C. Bannard's writings are collected at the Walter Darby Bannard Archive.[5]

See also


  1. "Walter Darby Bannard '52", Exeter Bulletin, New Hampshire: Phillips Exeter Academy, 2009
  2. "Walter Darby Bannard (1934–2016)". Retrieved 4 October 2016.
  3. Tuchman, Phyllis. "Walter Darby Bannard". Artforum. Retrieved 8 October 2016.
  4. Grimes, William. "Walter Darby Bannard, Artist of the Color Field Movement, Dies at 82". New York Times. Retrieved 8 October 2016.
  5. "Walter Darby Bannard Archive". Retrieved 8 October 2016.

Selection public collections

  • Albright-Knox Art Gallery
  • Allen Memorial Art Museum, Oberlin College, Ohio
  • Baltimore Museum
  • Beaubourg, Paris
  • Blanton Museum of Art, The University at Texas, Austin
  • Boston Museum of Fine Arts
  • Brooklyn Museum
  • Cleveland Museum
  • Dallas Museum of Fine Art
  • Dayton Art Institute
  • Edmonton Art Gallery
  • Fogg Art Museum
  • Guggenheim Museum
  • Honolulu Museum
  • Houston Museum of Fine Arts
  • Indianapolis Museum of Art
  • Kenyon College Art Gallery
  • Larry Aldrich Museum
  • Lowe Art Museum
  • Marion Koogler McNay Art Institute
  • Metropolitan Museum of Art
  • The Museum of Fine Arts, Houston, Texas
  • Montclair Art Museum
  • Museum of Modern Art
  • National Gallery of Victoria, Australia
  • National Museum of American Art
  • New Jersey State Museum
  • Newark Museum
  • Oberlin College
  • Portland (Oregon) Art Museum
  • Princeton University
  • Rose Art Museum
  • Smithsonian American Art Museum, Washington, DC;
  • Solomon R. Guggenheim Museum, New York
  • Storm King Art Center
  • Toledo Museum
  • University of Texas
  • Whitney Museum
  • Williams College Art Museum


  • Krauss, R., "Darby Bannard's New Work," Artforum, vol. 4, April 1966, pp. 32-
  • Bourdon, D., "Darby Bannard: The Possibilities of Color," Art International, vol.11, May 1967, pp. 37 – 39
  • "New Look for Old Tradition," Time Magazine, vol. 93, February 7, 1969, pp. 60 – 63
  • Mashek, J., "London Commentary: Bannard at Kasmin," Studio International, vol. 178, November 1969, p. 175
  • ..... "Canvases Brimming with Color," Life Magazine, September 24, 1971, pp. 74 – 79
  • Elderfield, J., "Walter Darby Bannard at Kasmin Gallery," Studio International, vol. 184, #949, November 1972, pp. 184 – 186
  • Mashek, P., "His Latest Work," Artforum, Vol. XI, #8, p. 66, March 1973
  • Cone, J. H., catalog essay and interview, "Walter Darby Bannard," Retrospective exhibit, Baltimore Museum of Art, Baltimore, Maryland
  • Carmean, Jr., E. A., "Modernist Art 1960 to 1970," Catalog essay for exhibit "The Great Decade of American Painting," Museum of Fine Arts, Houston, Texas. Also published in Studio Magazine, July/August 1974, Vol. 188, #968
  • Walsh, J., "Walter Darby Bannard's New Pictures," Arts, September 1982, pp. 77 – 79, incl. three color reproductions: Riffle, 1982; Cloud Comb, 1981; Tarquin, 1981
  • Fenton, T., "Walter Darby Bannard," Catalog for the exhibition at the Edmonton Art Gallery, September 2 - October 30, 1983, organized and written by Terry Fenton (incl. numerous reproductions & photos)
  • Fox, M., "Walter Darby Bannard," in catalog of show Definitive Statements - American Art: 1964 - 1966, List Art Center, Brown University, March 1–30, 1986, (ill: Seasons #2, 1965, b&w)
  • Wilkin, K., "Walter Darby Bannard" Contemporary Artists, Third Edition 1989, St. James Press, London, (Ill: The Flurry, 1982)
  • Koenig, R., "Walter Darby Bannard: Recent Works, 1987 - 1990," catalog essay for the exhibition at the Montclair Art Museum, Montclair, NJ, February 17 March 31, 1991 (ill. in color: Osa Montana #2, 1987; Formosa, 1988; The Indians, 1990)
  • Humblet, C., "La Nouvelle Abstraction Americaine", a major three-volume survey of American abstract painting published by Skira of Milan, includes a full chapter on Bannard's work, 33 reproductions in color of paintings and a black & white portrait of the artist. (Volume III, Section 13, Pgs. 1480-1513) It was published initially in French and was published by Skira in English as "The New American Abstraction 1950-1970" in 2007
  • Link, J., "Darby Bannard’s Scallop Series: Minimalism Mastered" catalog essay for the exhibition "Darby Bannard: The Scallop Series", Western Michigan University, Kalamazoo, Michigan, Feb. 1-20, 2006
  • Rose, Barbara et al, "Painting After Postmodernism | Belgium - USA", exhibition catalog published by Lannoo, Tielt (Belgium), 2016, P. 7, Pp. 9-20, Pp. 21-32.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.