Sol LeWitt was born in Hartford, Connecticut, in 1928. After studying fine arts at Syracuse University,
LeWitt served in the Korean War producing posters for the United States army. In 1953, LeWitt moved to New
York where he held a position as a draftsman for architect I.M. Pei, which instilled in him an early appreciation
for geometric precision and collaboration. Later, LeWitt worked as a receptionist at the Museum of Modern Art where
he was surrounded by a community of artists who sought a new direction for art-making and who encouraged LeWitt to pursue art as a profession.
Sol LeWitt was a pioneer of the 1960s Conceptual Art movement, emphasizing the importance of ideas over the material
aspects of a work of art. In his practice, he uses an aesthetic of basic geometric shapes and repeated lines to reflect
a sophisticated engagement with a world beyond the perceptual. He articulated the principles of his work in two seminal
texts entitled Paragraphs on Conceptual Art
(1967) and Sentences on Conceptual Art
Known initially for his sculptures that use open, modular structures originating from the cube, the artist began devising
wall drawings in 1968, for which the owner of each piece received only a set of instructions. In Philadelphia, LeWitt is best known for the blue barrel-vaulted ceiling of geometric patterns in the Museum’s modern and contemporary galleries entitled On a Blue Ceiling, Eight Geometric Figures: Circle, Trapezoid, Parallelogram, Rectangle, Square, Triangle, Right Triangle, X (Wall Drawing No. 351)
, which has been on view at the Museum since 1981. As with his instructions for the proposed garden, LeWitt left the execution of the ceiling to the hands of others. Another drawing by LeWitt in the Museum’s collection is Location of a Circle
In the 1980s, LeWitt began working with cinder blocks. Two examples of such structures are located in the Anne d’Harnoncourt Sculpture Garden where LeWitt’s Steps and Pyramid
, realized in 2010, are currently installed. In the 1990s, random curvilinear shapes and highly saturated colors became present in his structures. An example of one of these later works in the Museum’s collection is LeWitt’s Splotch
from 2003, defined by vibrant colors and mountainous contours.
Allowing for a collaborative and participatory network of ideas, LeWitt’s artwork activates both the physical domain of the art itself as well as the ideological arena of human thinking. Free from the artist’s literal hand, his methodology is often likened to that of a composer whose precise instructions are vulnerable to interpretation with every performance.