242:-based painters who were considered by some critics to represent a second generation of the Northwest School. However, his deeply personal style of abstraction showed more of the influence of Still, Rothko, and others he studied under at the California School of Fine Arts. He found inspiration in observation of the real world, but his intense immersion in the painting process transformed what he saw into lush abstractions that emphasized color and the picture plane. In Ivey's paintings, shapes are secondary to color in the development of spaces, and delicate neutral grays set off glowing patches of bright color.
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259:"Ivey was a rough-hewn yet lyrical painter interested in feeling, not fact. Within the frame of a canvas, he painted a frame with colors pouring out. He wanted to capture the visual pulse of a scene without bogging it down in particulars. He wanted to chip the barnacle of language off purely visual sensations. By blurring them, he hoped to restore them to some kind of original fresh sight. Thus, for all his disclaimers and tough-guy fortitude, he was a romantic to his bones."
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219:, was at the Galerie Arnaud in Paris in 1966 – but he remained a respected, strong-selling artist in the Pacific Northwest. SAM held another solo show of his work in 1975; in 1982 he accepted a rare commission and created the largest painting of his career (20' x 8') for the King County District Court in
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While Ivey was gaining recognition, and was able to quit his day job, he was notorious for his reluctance to attend opening parties, do publicity, or seek out commissions, and for his gruff, workmanlike approach to painting. "Painting is something you have to do all the time," he told arts journalist
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William Ivey was descended from early immigrants to the city of
Seattle, where he was born on September 30, 1919. Both his parents died when he was young, and he and a younger sister were raised mainly by their maternal grandfather, who was a land developer, and an aunt. Young Ivey often visited the
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In a 2014 review of a show at the
Woodside/Braseth Gallery, arts journalist Matthew Kangas speculated that Ivey's wartime experiences may have had a strong impact on his art, and suggested that " Ivey channeled — or suppressed — such horrors into modernist abstraction in order to control and tame
86:, and served in the Aleutians, Africa, Italy, and France. In later years he seldom spoke of his wartime experiences, but was known to have sustained a serious abdominal wound. While in Italy he was able to view works by
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grant, and two years later, a grant from the
National Foundation for the Arts and Humanities. In 1964 he had his first major solo show, at the Seattle Art Museum; in 1967 he received a Rockefeller Fellowship.
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In the late 1940s Ivey returned to
Seattle. He was employed by the city as a social worker, and had a daughter with his wife, Helen Taylor. He painted at night in a series of studios, and entered the
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Regina
Hackett in a 1992 interview. "If you don't, it becomes too important, too charged with meaning, and you can't bring yourself to do it. For me, it's like tying my shoes in a way."
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He died in
Seattle on May 17, 1992, aged 72, after a year-and-a-half long battle with cancer. He was survived by his wife Helen, daughter Kathleen, and two grandchildren.
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Oral history interview with
William Ivey, by Barbara Johns, 1983 May 24–31, Archives of American Art, Smithsonian Institution.
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Ivey rarely titled his paintings. He was an avid fly fisherman, often fishing with his friend and fellow painter Carl Morris.
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were featured in an exhibition of
Northwest avant-gardists at SAM. He formed friendships with fellow artists such as
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Distaste for promotion likely limited Ivey's popularity – his one and only
European exhibition, arranged by painter
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366:; North Galleries, November 15, 1989 – January 7, 1990; Henry Art Gallery exhibition archive; retvd 7 27 14"
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Ivey also generally disliked teaching, but taught for short periods at the San
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of artists. After stints in the US Army and studying art in California, he spent most of his career in
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283:'William Ivey, A Sensitive Mentor And Dean Of Northwest Painters', by Deloris Tarzan Ament,
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neighborhood; in 1989 the Henry Art Gallery presented a major retrospective of his career.
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critic Deloris Tarzan Ament described him as "the Dean of Northwest Painters".
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Untitled, 1986, William Ivey. Collection of Woodside/Braseth Gallery.
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after its 1933 opening near his grandfather's house, in the
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as a law student, while also taking drawing classes at the
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22:(September 30, 1919 – May 17, 1992) was an American
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210:Frank Okada
167:Alden Mason
143:Zoe Dusanne
112:Mark Rothko
691:Categories
546:Leo Kenney
480:Mark Tobey
264:References
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225:Queen Anne
155:Leo Kenney
120:David Park
96:Caravaggio
662:Fishtown
458:Big Four
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