2019 First-Class Forever Stamp,Ellsworth Kelly: "Yellow and White"
# 5382 - 2019 First-Class Forever Stamp - Ellsworth Kelly: "Yellow and White"
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5382 - 2019 First-Class Forever Stamp - Ellsworth Kelly: "Yellow and White"
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US #5382
2019 Yellow White – Ellsworth Kelly
- Part of the 10-stamp set commemorating abstract artist Ellsworth Kelly
Stamp Category: Commemorative
Set: Ellsworth Kelly
Value: 55¢ First Class Mail Rate (Forever)
First Day of Issue: May 31, 2019
First Day City: Spencertown, New York
Quantity Issued: 20,000,000
Printed by: Banknote Corporation of America
Printing Method: Offset
Format: Panes of 20
Tagging: Phosphor, block tag
Why the stamp was issued: To honor Ellsworth Kelly, an abstract artist known for his paintings, sculpture, and works on paper.
About the stamp design: Picture’s Kelly’s piece Yellow White (1961).
First Day City: The First Day of Issue Ceremony was held at Ellsworth Kelly Studio in Spencertown, New York.
About the Ellsworth Kelly set: Includes 10 different stamp designs, each picturing a piece of art created by Ellsworth Kelly (1923-2015). The pieces shown are: Yellow White (1961), Colors for a Large Wall (1951), Blue Red Rocker (1963), Spectrum I (1953), South Ferry (1956), Blue Green (1962), Orange Red Relief (for Delphine Seyrig) (1990), Meschers (1951), Red Blue (1964), and Gaza (1956). The selvage of the complete pane of 20 includes a segment of Blue Yellow Red III (1971).
History the stamp represents: Ellsworth Kelly did not consider himself to be an artist of a particular style. He simply sought to explore art in his own way and create a unique experience for his viewers.
For the bulk of his career, Kelly produced abstract paintings. They were often based on things he had seen in everyday life – the lines of a window, shadows cast on stairs, the shape of a sewer grate. Kelly felt it was his mission to find these items in the world and present them. However, he claimed that his paintings didn’t represent objects, rather “they are objects themselves.” An important part of this practice was that he only wanted to paint what he saw, without adding meaning. He said that “most people wee with their minds rather than their eyes. I work hard at refining and keeping my eye engaged. I want the form to speak. I don’t want you to investigate the surface. I want you to read the form in relation to yourself.”
Many of Kelly’s paintings consisted of multiple single-color canvases, layered over each other or spread out across a wall. He also experimented with irregularly-shaped canvasses. These large-scale installations made the area around the paintings part of the art, challenging the viewers’ perceptions of space. As Kelly described it, he was trying to capture “the reality of flux” and “get at the rapture of seeing.”
US #5382
2019 Yellow White – Ellsworth Kelly
- Part of the 10-stamp set commemorating abstract artist Ellsworth Kelly
Stamp Category: Commemorative
Set: Ellsworth Kelly
Value: 55¢ First Class Mail Rate (Forever)
First Day of Issue: May 31, 2019
First Day City: Spencertown, New York
Quantity Issued: 20,000,000
Printed by: Banknote Corporation of America
Printing Method: Offset
Format: Panes of 20
Tagging: Phosphor, block tag
Why the stamp was issued: To honor Ellsworth Kelly, an abstract artist known for his paintings, sculpture, and works on paper.
About the stamp design: Picture’s Kelly’s piece Yellow White (1961).
First Day City: The First Day of Issue Ceremony was held at Ellsworth Kelly Studio in Spencertown, New York.
About the Ellsworth Kelly set: Includes 10 different stamp designs, each picturing a piece of art created by Ellsworth Kelly (1923-2015). The pieces shown are: Yellow White (1961), Colors for a Large Wall (1951), Blue Red Rocker (1963), Spectrum I (1953), South Ferry (1956), Blue Green (1962), Orange Red Relief (for Delphine Seyrig) (1990), Meschers (1951), Red Blue (1964), and Gaza (1956). The selvage of the complete pane of 20 includes a segment of Blue Yellow Red III (1971).
History the stamp represents: Ellsworth Kelly did not consider himself to be an artist of a particular style. He simply sought to explore art in his own way and create a unique experience for his viewers.
For the bulk of his career, Kelly produced abstract paintings. They were often based on things he had seen in everyday life – the lines of a window, shadows cast on stairs, the shape of a sewer grate. Kelly felt it was his mission to find these items in the world and present them. However, he claimed that his paintings didn’t represent objects, rather “they are objects themselves.” An important part of this practice was that he only wanted to paint what he saw, without adding meaning. He said that “most people wee with their minds rather than their eyes. I work hard at refining and keeping my eye engaged. I want the form to speak. I don’t want you to investigate the surface. I want you to read the form in relation to yourself.”
Many of Kelly’s paintings consisted of multiple single-color canvases, layered over each other or spread out across a wall. He also experimented with irregularly-shaped canvasses. These large-scale installations made the area around the paintings part of the art, challenging the viewers’ perceptions of space. As Kelly described it, he was trying to capture “the reality of flux” and “get at the rapture of seeing.”