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A Portend of the Artist as a Yhung Mandala.

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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/827-43.jpg
Title	A Portend of the Artist as a Yhung Mandala.
Creator	Reinhardt, Ad (American painter, collagist, and writer, 1913-1967)
Date	1955
Cultural Context	American North American
Style/Period	Modern (styles and periods) Modernist
Theme	Illustrations (layout features) Drawings (visual works) Collages (visual works) Avant-garde Cartoons (humorous images) Editorial cartoons Political cartoons Satire (artistic device) Satires (document genre) Art (fine art) Art market Politics Capitalism Polemics Mysticism Mandalas Words Symbols Mythology (literary genre) Myths (literary documents) Legends (folk tales) Folk tales Folklore Figurative art Figures (representations) Nudes (representations) Nudity Costume (mode of fashion) Birds Animals Wild animals Wildlife
Subject	Illustrations Periodical illustrations Drawings Ink drawings Collages Cartoons (Commentary) Editorial cartoons Political cartoons Satires (Visual works) Politics & government Art Capitalism Symbols Myths Legends Supernatural beings Fictitious characters Nudes Clothing & dress Peacocks Birds Animals
Description	"Ad Reinhardt's satirical cartoons, which contrasted sharply with his practice as a painter, dated back to the 1930s and 1940s. His strong Communist sympathies during that period had informed a series of cartoons for left-wing journals. By the 1950s he was more concerned with exposing the politics of the art world. It is presented here in the form of a Tibetan mandala - a maze of buzz words and cant, shot through with capitalist decadence." (Caption, p.132); "In America the output of two painters of the early 1960s, Ad Reinhardt and Frank Stella, manifested telling ambiguities from a Modernist standpoint. Ad Reinhardt, the senior of the two, with a career stretching back to the late 1930s, carved out a particularly intractable position for himself. On the one hand, he possessed the hallmarks of a staunch Modernist. He deplored any confusion between art forms, fiercely advocated a philosophy of 'art as art' predicated on relentlessly negativistic itineraries of all the things art was not, and in his 'black' paintings of 1955-67 practically banished compositional incident from a sequence of unyielding monochromes. On the other hand Reinhardt had no time for Modernism's avatars, the Abstract Expressionists. He regarded their paintings as impure marriages of abstraction and Surrealism and satirized their Jungian sympathies in the title and imagery of one of the polemical 'cartoons' he published in the art press in the 1950s. This jibe notwithstanding, Reinhardt was deeply sympathetic towards various forms of mysticism. The somber iconicity of the 'black paintings', from which Greek cross structures slowly emerge against faint bluish or reddish 'haloes', attest to this." (Excerpt, p.131)
Material	Collage of ink and paper Ink Paper (fiber product)
Measurements	51.4 x 34.3 cm
Technique	Collage (technique) Drawing (image-making) Illustration (process) Cartooning
Inscription	Includes assorted text.
Work Type	Illustrations Periodical illustrations Collages Cartoons (Commentary) Drawings Ink drawings
Repository	Whitney Museum of American Art (New York, New York)
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.132, fig.64)
Rights	Photograph reproduced in Hopkins courtesy: The Whitney Museum of American Art, New York, Anonymous Gift. Photo © 1997, Whitney Museum of American Art. (76.45)
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 827-43.jpg
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A Portend of the Artist as a Yhung Mandala.

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