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INVENTORY OF THE FREDERICK HAMMERSLEY SKETCHBOOKS, PRINTS, NOTES, AND WORKING MATERIALS
2013.M.33  
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Collection Details
 
Table of contents What's This?
  • Descriptive Summary
  • Biographical/Historical Note
  • Administrative Information
  • Related Archival Materials
  • Scope and Content of Collection
  • Indexing Terms

  • Descriptive Summary

    Title: Frederick Hammersley sketchbooks, prints, notes, and working materials
    Date (inclusive): 1948-1980
    Number: 2013.M.33
    Creator/Collector: Hammersley, Frederick, 1919-2009
    Physical Description: 6.5 linear feet (7 boxes)
    Repository:
    The Getty Research Institute
    Special Collections
    1200 Getty Center Drive, Suite 1100
    Los Angeles, California, 90049-1688
    (310) 440-7390
    Abstract: A set of sketchbooks, notebooks, lithographs, notes, and working materials by California hard-edge abstract painter, Frederick Hammersley.
    Request Materials: Request access to the physical materials described in this inventory through the catalog record  for this collection. Click here for the access policy .
    Language: Collection material is in English.

    Biographical/Historical Note

    One of the founding members of hard-edge abstraction, Frederick Hammersley was born in !919 in Salt Lake City and moved with his family to Idaho and San Francisco. He studied art at the Chouinard Art Institute in Los Angeles from 1940-42, and from 1946-47, serving from 1942-45 as an army sargeant in World War II, stationed in Paris. From 1945-46 he studied at the Ecole des Beaux Arts. After completing his degree at Chouinard, Hammersley continued his studies at Jepson Art Institute from 1947-50.
    Hammersley was an art instructor for more than twenty years. At the same time, he explored a range of media, including oil painting, watercolor, drawing, printmaking, photography, sculpture, mixed media and computer drawings. He first gained critical recognition in 1959 in a show at Los Angeles County Museum of Art titled Four Abstract Classicists. In the catalog for that show, the critic Jules Langsner first used the term "hard-edge" to describe the painters' use of flat, colored shapes with defined edges.
    Within the media of painting, Hammersely had three principal series: hunch paintings, which were developed intuitively from an initial shape; organic paintings, composed of curving, hand-drawn shapes outlined in pencil and filled in with color; and geometric paintings, based on a grid, in which complexity is acheived through extensive development of minor variations on a theme. Each geometric and organic painting is assigned a title chosen from pages of phrases Hammersley recorded in a stream of consciousness process in response to a completed canvas. He felt that the titles were an integral part of the work and also increased the viewer's accessibility to the paintings.
    Beginning in the mid-1990s, Hammersley's work enjoyed resurgent critical interest and a degree of commercial success. He died in 2009.

    Administrative Information

    Access

    Open for use by qualified researchers.

    Publication Rights

    Preferred Citation

    Frederick Hammersley sketchbooks, prints, notes, and working materials, 1948-1980, The Getty Research Institute, Los Angeles, Accession no. 2013.M.33.

    Acquisition Information

    Gift of Frederick Hammersley Foundation in 2013.

    Processing History

    The collection was processed and described by Annette Leddy in 2013.

    Related Archival Materials

    A larger portion of the artist's papers is held at the Archives of American Art: Frederick Hammersley papers, 1897-2008, bulk 1940-2000. Archives of American Art, Smithsonian Institution. 

    Scope and Content of Collection

    Hammerley's hard-edge aesthetic and precise working method appear in a range of media, including notes and lists, sketches in pencil or paint, lithographs, and computer prints. The sketchbooks, notebooks and paint sample charts provide meticulous technical details outlining the materials and processes used for nearly every painting Hammersley produced and document the formal experimentation that preceded many of his paintings. An early lithography project from 1949-50 and set of test prints from the Computer Drawings series of 1968-69, as well as his copious notes on potential titles for his paintings, reveal other facets of his methodical serial formal explorations. The collection also includes a small un-stretched canvas that is considered Hammersley's first hunch painting.

    Arrangement

    Arranged by type of material in rough chronological order.

    Indexing Terms

    Subjects - Names

    Hammersley, Frederick, 1919-2009

    Subjects - Topics

    Artists--California--Los Angeles
    Painting, Abstract--California--Los Angeles

    Genres and Forms of Material

    Computer drawings--California--20th century
    Lithographs--California--20th century
    Sketchbooks--California--20th century