new-york

Ray Parker

Fischbach Gallery uptown

Ray Parker, like Al Held, Ellsworth Kelly, Sam Francis, Grace Hartigan, Paul Jenkins, Joan Mitchell, Jack Youngerman, and Kenneth Noland, belongs to the second generation of “New American Painting.” His stylistic brother in this group is Jack Youngerman, with whom he is often linked. They seceded together from the rest of their generation, sharing a reverence for Matisse, especially his late collages, that encouraged them to get close to Matisse’s style. In so doing they separated themselves from the Constructivist orientation in current American painting.

In the late ’50s and early ’60s, Parker’s image was similar to that of Rothko. He floated large, unevenly edged, rounded rectangles of ponderous color against a neutral, usually bare canvas, ground. As the ’60s progressed, he firmed his edges, decreased the size of his forms, and packed more and more of them into each painting. He began

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