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	Avery (Site not responding. Last check: 2007-10-19)
		Avery's art became increasingly abstract, but as is evidenced by his mature paintings of the mid-1940's and later, he never abandoned representational subject matter.
		Avery's subject matter was from the domesticity of his day-to-day life--his family, their vacations at the beach, nature; without subverting the representational, he distilled their essences into compositions of form, shape, color, and pattern no less than did his successors.
		Milton Avery has been described as a gentle, quiet, unassuming man who disliked publicity, cared little for talking about himself or his work, affiliated with no groups, and championed no issues or causes -- save for his painting, to which he was thoroughly committed.
	dks.thing.net /Avery.html (1485 words)

	Space, Abstraction and Freedom
		Avery's view of nature was more pragmatic than idealistic; he sought to represent the immediate appearance of things and to avoid using artistic means for merely decorative effect.
		It was Avery's ability to create a sense of volume and space using color alone, instead of relying on line and texture to build up his design, that attracted the younger generation of New York painters, including Mark Rothko and Adolph Gottlieb, to his art.
		Avery's late paintings represent the culmination of his efforts to express the quintessence of form by reducing his subject matter to basic aesthetic qualities of color and shape.
	www.ackland.org /art/exhibitions/patton/averytext.html (494 words)

	Milton Avery biography (Site not responding. Last check: 2007-10-19)
		Milton Avery spent 50 years of his life painting -- in some cases all day for weeks at a time, sometimes creating as many as 5 or 6 paintings or studies in one day.
		Milton Avery had profound impact on the other painters he befriended, on American color field painting and on the evolution of modernism in the last half of the 20th century.
		Avery was a unique painter; he never participated in the cerebral introspection and philosophizing of many of his fellow color field associates.
	www.davistownmuseum.org /bioMiltonAvery.html (1153 words)

	washingtonpost.com: An Uneasy Brush With Modernism
		Avery makes the faces in his portraits deliberately awkward and misshapen; their shadows are painted on top, the way they might be rendered by a hobbyist who knew you were supposed to put a shadow in, but didn't really understand the way that shading works.
		Where Avery goes wrong, I think, is that he rarely reintegrates the coarseness that he borrows from naive painting into a new, sophisticated whole, as his predecessors had.
		Avery's attempts to follow his proteges into abstraction, shown in the last room of this exhibition, had all the same problems as his first embrace of European modernism -- his semi-abstract pictures show a profound lack of comfort with a manner he came to only very late.
	www.washingtonpost.com /ac2/wp-dyn/A39881-2004Feb13?language=printer (1376 words)

	Press Information \| Milton Avery's Prints on Display (Site not responding. Last check: 2007-10-19)
		Avery's paintings are widely appreciated for their unique interplay of abstracted shapes from nature and lyrical color harmonies.
		This exhibition presents two far-too-little-known aspects of Milton Avery's art, in a selection of twelve of his drypoints and woodcuts, acquired by the Library's Print Collection from 1948 to 2004, and in a set of gouache paintings made for a children's book in 1946, acquired by the Spencer Collection in 2001.
		Milton Avery: The Flying Pig and Other Winged Creatures – An Exhibition of the Artist's Illustrations and Prints is on view February 18 through May 27, 2005, in the Stokes Gallery on the third floor of The New York Public Library's Humanities and Social Sciences Library, Fifth Avenue and 42nd Street.
	www.nypl.org /press/miltonavery.cfm (790 words)

	Milton Avery
		His mature style, developed by the mid-1940s, is characterized by a reduction of elements to their essential forms, elimination of detail, and surface patterns of flattened shapes, filled with arbitrary color in the manner of Matisse.
		"Milton Avery, whose paintings are at the Whitney Museum through December 5th, is a sensitive colorist and designer of two-dimensional patterns in the tradition of Matisse, particularly, though infrequently reminding of Braque and Picasso without the latter's intensity.
		It is doubtful, however, whether Avery, in terms of content, is saying enough with his color beyond revealing the sophistication of his tastes in dealing with beauty on an abstract basis.
	www.artchive.com /artchive/A/avery.html (1678 words)

	Milton Avery The Caldwell Gallery
		Milton Avery was born in Altmar, New York on March 7, 1885.
		In 1915, after the deaths of his father, two brothers, and brother-in-law, Avery was thrust into the role of provider for a family of eleven.
		Avery exhibited extensively throughout his career, and painted almost until his death in 1965.
	www.caldwellgallery.com /bios/averybio.html (265 words)

	Milton Avery: then & now by James Panero
		Avery was certainly aware of Matisse because of their connection to Valentine Gallery, and McBride was in fact the first to make the comparison in 1940.
		Avery’s is the opposite of what is supposed to be a typical American attitude in that he approaches nature as a subject rather than as an object.
		The achievement of Milton Avery can be found in the way he was able to articulate his faith in “the organization of all the elements” with an economy of means and, more significantly, with his color palette—different from both Bonnard and Matisse.
	www.newcriterion.com /archive/22/may04/avery.htm (2571 words)

	Untitled Document
		Instead of conforming to their doctrine of the complete absence of figuration, Avery remained faithful to his own artistic vision as he had during the 1920s and 1930s, when the realist painters considered him too abstract.
		He developed this pictorial device in the 1930s and by the mid-1940s was using it often in his paintings to allow the color interactions on the canvas to become the focal point of the work.
		Despite the fact that Avery cannot be easily grouped with any twentieth century artistic movement, his undetailed forms and flattened color masses inspired subsequent generations of American colorists.
	www.nbmaa.org /Gallery_htmls/avery.html (562 words)

	SAAM :: Have a Question? Find an Answer (Site not responding. Last check: 2007-10-19)
		Milton Avery lived in and around Hartford, Connecticut, until 1925, when he moved to New York City.
		At the beginning of their marriage, Sally Avery determined to place her own artistic concerns second to those of her husband, and she worked as a freelance illustrator to free Avery from the need to support hisfamily.
		By 1930, references to Matisse and Picasso can be discerned in Avery's paintings, and he began to introduce the simplified forms and flattened space that would, along with clear, unmodulated color, become the hallmarks of his later work.
	catlinclassroom.si.edu /search/artist_bio.cfm?StartRow=1&ID=176 (950 words)

	DC Moore Gallery: Milton Avery 'Paintings & Works on Paper'
		This is DC Moore Gallery's fourth one-person show devoted to tile work of Milton Avery (1885-1965) and will include more than thirty-five works by the artist including oil paintings, watercolors, gouaches and drawings.
		Milton Avery's singularity of purpose and devotion to his personal aesthetic vision can be equaled by only a few 20th century artists.
		Milton Avery was born in 1885 in upstate New York, the youngest of four children in a working-class family.
	www.artnet.com /ag/fineartthumbnails.asp?gid=291&cid=19567 (424 words)

	THE BROOKLYN RAIL - ART
		Milton Avery was closer in age to Marsden Hartley and Charles Burchfield than he was to Barnett Newman and Mark Rothko, but art history has retrospectively placed him in the company of those younger New York school artists rather than in his own peer group.
		Avery’s art was never really in sync with any of this, but the consistency of his peculiar vision throughout the upheavals of style and philosophy in this span of time is a quiet triumph.
		Avery was a master of the thin, scratchy, inelegant gesture, in which the brush’s drag against the grain of the canvas makes one aware of the painting surface almost before one notices the paint.
	www.thebrooklynrail.org /arts/jan05/3.html (893 words)

	Milton Avery (Site not responding. Last check: 2007-10-19)
		Milton Avery was born in Sand Bank, New York in 1893.
		Avery worked as a assembler, mechanic and latheman before enrolling in a class in lettering at the Connecticut League of Art Students in 1905.
		Avery, one of the American masters of figure painting during the 1930s and 1940s, turned to landscapes and seascapes later in his career.
	www.nhptv.org /kn/itv/mcd/avery.htm (117 words)

	JS Online: Avery's colors still stand out after his death
		During most of his 80 years, Milton Avery (1885-1965) was looked on as a gifted misfit, admired for his vision and energy but undervalued for his painting style: too bold for the sentimentalists, too timid for the radicals, too lyrical for the super-realists, too literary for the extreme abstractionists.
		In short, Avery succeeds by serving up a peculiar but beguiling artistic cocktail, one that seldom fails to fascinate viewers and, at the same time, causes them to ask penetrating questions about his achievement.
		Unlike the more mordant, if not morbid, Rothko, Avery was an essentially happy man, delighting in the vibrant presence of his wife, Sally, and daughter, March, who later became a fine artist in her own right.
	www.jsonline.com /onwisconsin/arts/nov01/avery28112701.asp?format=print (1371 words)

	Milton Avery
		Milton Avery (1885-1965) was born in Sand Bank, New York, a small town near Lake Ontario.
		Barbara Haskell, Avery's biographer, writes that "the development of color harmonies came to dominate Avery's art; regardless of the structural and technical phases which his painting evolved, his maturation as a colorist proceeded autonomously and with interruption".
		Milton Avery's "Three Birds" is in a 25" x 40 3/4" bundled reeds styled frame on fl and gray with wood tones showing through.
	www.annalies.com /New_Works/Milton_Avery/milton_avery.html (332 words)

	SDMA: News
		Milton Avery: Paintings from the Collection of the Neuberger Museum of Art, will be on exhibit at the Samuel Dorsky Museum of Art January 28th through May 30th, 2004.
		Milton Avery: Paintings from the Collection of the Neuberger Museum of Art embodies Avery's classic motifs- intimate groupings of friends, portraits, still lifes, seascapes, and landscapes-with his characteristic flattened, color harmonies and respect for his chosen subjects.
		Milton Avery summered in Woodstock, New York and was a member of the Woodstock Art Association.
	www.newpaltz.edu /museum/archive.cfm?id=20 (892 words)

	Eye Contact: Modern American Portrait Drawings from the National Portrait Gallery
		When Milton Avery made this self-portrait in 1938, he was emerging as a masterful American painter with a devoted following.
		Avery's innovative work attracted many young artists who would be leaders of the abstract expressionist movement.
		The drawing also reflects Avery's habit of drawing his family and friends: inside and on the back of the folded page are lively scenes from the family's vacation.
	www.npg.si.edu /cexh/eye/html/l_avery.htm (187 words)

	Milton Avery (Site not responding. Last check: 2007-10-19)
		Avery's small landscape uses solid pools of rich color to convey aspects of the land and horizon.
		Avery quietly and devotedly dedicated himself to the profession of painting, and at a time when most of his contemporaries were taking up naturalistic styles such as American scene painting, he adopted the Fauvist "example of Matisse in using flat areas of color within flowing outlines" (Chilvers 44).
		Milton Avery was born in Altmar, New York, though he grew up in Connecticut.
	www.wm.edu /muscarelle/factsheets/avery.html (577 words)

	Commentary Magazine - Milton Avery's Art, and Ours (Site not responding. Last check: 2007-10-19)
		...Avery, the son of a tanner, was born in 1885 in Sand Bank, New York...
		...The paradox of Avery’s making this art into “his own personal existence” is that he thereby gave it a life of its own—which is what makes it unforgettable in the very best sense...
		...Because Avery’s color-values vary little or not at all, pictorial space is flattened and the overall sensation is often one of weightlessness...
	www.commentarymagazine.com /Summaries/V117I5P55-1.htm (2741 words)

	Art Business News: Late paintings of Milton Avery on view at the Norton. (West Palm Beach, Fla.).(Norton Museum of ... (Site not responding. Last check: 2007-10-19)
		The first in-depth examination of the last years of artist Milton Avery's long and celebrated career is the focus of a new exhibit at the Norton Museum of Art.
		Entitled "Milton Avery: The Late Paintings," the exhibit includes 50 major works that feature Avery's witty, spare and graceful style.
		Until now, according to museum organizers, Avery's career has been viewed as a monolithic whole rather than a series of successive and distinct periods that culminated in the paintings he produced during the last two decades of his life.
	www.highbeam.com /library/doc0.asp?DOCID=1G1:84926790&refid=ip_encyclopedia_hf (243 words)

	Milton Avery Artworks and Fine Art at arthistorynet.com
		Spring Orchard 1959 Milton Avery oil on canvas 50 x 66 1/4 in.
		Sally Avery with Still Life (1926) Milton Avery oil on cotton 30 x 25 in.
		One of the foremost American modernists, Milton Avery (1885-1965) is renowned for a visual agility t...
	www.absolutearts.com /masters/a/avery-milton.html (641 words)

	OnMilwaukee.com
		"Avery's common subjects and simple forms invite viewers to take the images at face value, but upon careful examination, his paintings reflect a powerful play between realism and abstraction," said Russell Bowman, director of the Milwaukee Art Museum and curator of the exhibition at the Museum.
		The exhibition "Milton Avery: The Late Paintings" allows MAM to tout its seven Avery paintings (in the Bradley Collection) and the acquisition of Avery works among Wisconsin collectors.
		A seminal essay on Avery by Clement Greenberg that originally appeared in the December 1957 issue of Arts Magazine, and was later revised by the author, is reprinted.
	www.onmilwaukee.com /articles/print/avery.html (472 words)

	DAILY BRUIN ONLINE (Site not responding. Last check: 2007-10-19)
		American painter Milton Avery is remembered in a rare exhibit titled "Milton Avery: The Late Paintings," now at the UCLA Hammer Museum.
		Endeared as a "painter's painter,"; Avery influenced other artists and was held in great esteem by those who learned from him, most notably the abstract expressionist painter Rothko, who delivered the eulogy at Avery's funeral.
		According to Boime, Avery's career decision to remain an independent painter and to stay free from the confinement of a particular art movement caused him to fall between the cracks in scholarly study, stripping him of any possible celebrity status as well as dropping him from the syllabus of art history survey courses.
	www.dailybruin.ucla.edu /news/printable.asp?id=19922&date=5/21/2002 (632 words)

	Boston.com / A&E / Theater/Arts / Show celebrates Milton Avery's work (Site not responding. Last check: 2007-10-19)
		The Phillips Collection is celebrating one of the first American artists to move from French Impressionist painting toward the abstract, a development that redirected the art world's attention from Paris to New York in the mid-1900s.
		Avery prepared some of his most abstract paintings from his own realistic drawings, said Eliza E. Rathbone, the museum's chief curator.
		The Averys and the Kaufmans were close friends for decades.
	www.boston.com /ae/theater_arts/articles/2004/02/18/show_celebrates_milton_averys_work (432 words)

	ionarts
		Although he was never lost to me, I have learned a lot of biographical information about Milton Avery (image at right) that I didn't know before from the exhibit Discovering Milton Avery: Two Devoted Collectors, Louis Kaufman and Duncan Phillips at the Phillips Collection in Washington, D.C. (through May 16).
		Nature is dominant in Shells and Fishermen: an undulating blue sea and sky approach as one, while a somewhat ominous ledge threatens to gobble up the two unsuspecting fishermen; even the shells in the foreground are their equal.
		Avery was quite prolific, constantly drawing portraits, still lifes, and landscapes, always searching: it sure inspired me to get to work.
	ionarts.blogspot.com /2004/02/i-found-milton-avery-by-mark-barry.html (788 words)

	Milton Avery oil - Jonesport Wood Co. (Site not responding. Last check: 2007-10-19)
		This quick study was painted during one of Avery's summer visits to the Vermont hills.
		The exact location of the study could probably be determined by somebody familiar with where Avery spent his time during these visits.
		This canvas is particularly interesting in that Avery, ala Helen Frankenthaler, utilized bare unprimed canvas as ground in this unusual color field study.
	www.jonesport-wood.com /jw0001.htm (68 words)

	MILTON AVERY 1885
		Here, Avery plays with the aspects of both the Fauvist and Nice period Matisse by transforming his seductive abstract nudes into an infant wearing a pink ruffled dress, who kicks up one leg in a frolicsome fashion.
		In place of the exotic appurtenances of a harem found in many Matisse paintings, Avery places the child in an ebonized Charles Eastlake style Victorian lady's chair, similar to a piece in the Avery's household.
		The success of Avery's undertaking can be ascertained in the ways that he has taken both the anonymity and abstraction of modern life and made them both as fresh and familiar as an infant cavorting in a favored heirloom Victorian lady's chair.
	www.butlerart.com /pc_book/pages/milton_avery_1885.htm (520 words)

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