Richard Anuszkiewicz


Acrylic on canvas
72 x 48 inches

sky blue
Sky Blue Square

1977 - 2016
Acrylic on canvas
6 ft x 6 ft

Silent Red Square

1977 - 2016
Acrylic on canvas
6 ft x 6 ft

Spring Chartreuse

1981 - 2011
Acrylic on canvas
48 x 48 inches

Summer Rose
Summer Rose

1977 - 2015
Acrylic on canvas
24 3/8 x 24 3/8 inches

Electric Green and Blue

Acrylic on canvas
72 x 96 inches

Installation view of RIchard Anuszkiewicz: Line and Space at 499 Park Avenue
From left to right;
Metamorphosis of Cadmium Red - Blue Line
Metamorphosis of Cadmium Red - Blue Green Line
Metamorphosis of Cadmium Red - Green Line
Metamorphosis of Cadmium Red - Yellow Green Line

Acrylic on canvas
84 x 84 inches (each)

Richard Anuszkiewicz Website

"Scientific experimentation in color has reached a point where color relationships of the most startling character and with the most unexpected optical consequences can be established. Such are to be found in Richard Anuszkiewicz' non-objective paintings at The Comtemporaries, 922 Madison Avenue."
-Stuart Preston, The New York Times, March 5, 1960

"Individual colors, when scientifically placed in conjunction, can play off each other in surprising ways, and make havoc with normal vision. Richard Anuszkiewicz' new non-objective paintings exploit these situations to such degrees that, after lengthy looking at them, one cannot positively identify either shape or color. This could be a tedious optical trick were it not for this artist's composing patterns of appealing liveliness and variety."
-Stuart Preston, The New York Times, April 2, 1961

"What has been called optical art is best exemplified among the younger generation, in color by the American, Richard Anuszkiewicz, and in black and white, by the Briton, Bridgit Riley. It's pioneers include not only Albers and Vasarely but Malevich, Balla, Mondrian, Duchamp, Sophie Taeuber-Arp, Max Bill, Henri Berlewi, and many others. The optical painter knows that sharp edged and flatly painted shapes, colors, and lines, if skillfully controlled, can animate an observer's perception even against his will and bring about experiences of motion, light, deformation, depth, and many other effects for which the painting is only a stimulant. To this end-and in some instances with no other intention-the artist applies his knowledge that no arrangement of shapes, lines, dots, or whatever has an invariable identity in vision. His works confirm the conclusion of psychologists that what used to be called "optical illusions" now put in question any belief in objective perception."

-William C. Seitz, Vogue Magazine, February 15, 1965

'For twenty years Richard Anuszkiewicz has been at work investigating what he calls 'color function'. The content, media, even the size of his paintings have been and are determined by color. His work is among the most rigorous, most uncompromisingly abstract in American art. The paintings address themselves to the fundamental question "how does the eye see?" They are prime examples of perceptual abstraction."

-Richard Armstrong, 1976, Director, The Solomon R. Guggenheim Museum

"What was it that caused Anuszkiewicz's new works to yield an aura of classicism? Within the context of the work of the artist's mentor, Josef Albers, the esthetics of shape and color have been expanded to include what could be called reveries on color perception- an atmospheric handling of color relationships that seems both unexpected and inevitable. Whereas Albers' genius lay in formulating the logistics of color interaction, Anuszkiewicz added line and field to create space through color - a space only hinted at by Albers. So prismatically beautiful is Anuszkiewicz's visual discourse with space that the results have a buoyant, floating effect, as though form and space were one and the same- an evanescent commingling of light and weight that, through color and balance, releases a powerful yet subtly graded glow. It is this glowing, hot-cold quality that gives the architecture of the artist's work its substance and energy and, indeed, its classical format."
-John Gruen, Art News, September, 1979