Reinhardt, Ad

Extraordinary archive of love letters documenting his eleven-year affair with his former student, Charlotte Liebler, within the context of his great "classic" monochromatic period, including 130 one-page autograph letters, thirteen autograph notes and aérogrammes from abroad, forty-two autograph postcards, twenty-nine autograph notes, many with whimsical enclosures, thirty-six fragments, doodles and enclosures, two notes written on the inside of condom boxes, six newspaper clippings and exhibition announcements (some with autograph notes), seven slides and five photographs of Reinhardt, Liebler or a work of art, three postcards from Liebler to Reinhardt, New York, Paris, London, Athens, and various locales in Italy, all letter undated but postmarks on envelopes and postcards ranging from 1956 to 1967.

A hitherto unknown cache of love letters written during Reinhardt's extraordinary "classic" monochromatic period.

A graduate in the class of 1953 from Brooklyn College, Charlotte Liebler had taken numerous courses with Ad Reinhardt who had been teaching there since 1947. When the young student subsequently thought of pursuing a Master of Fine Arts degree at Brooklyn College, Liebler contacted Reinhardt in 1956, asking if he remembered her and seeking advice. Reinhardt whimsically responds in a note postmarked 8 November 1956: "There aren't that many students in 10 years . . .or, there aren't that many good students, or, there are that many nice students, that one (I) would with effort? or , that one (I) wouldn't  with effort? remember or, not remember, one of the best (you) of them all? Effort or not, I remember, even without a list or honor roll or black book or white diary, or international business machines, holed blue card and quadrupled attendance sheets, I remember and don't forget, remember . . ." By 11 September 1961, Reinhardt became Liebler's advisor. He writes, "Of course I'll be your advisor forever and ever, timelessly, course or no course." It did not take long for their relationship to turn into an intense affair lasting over a decade.

A voluminous body of work devoted to one of art's greatest subjects, Eros, Reinhardt's letters to his secret lover attest to his creativity and wit. Penned in an exquisite calligraphic script, the letters include doodles, puzzles, cartoons and what Reinhardt calls "love hieroglyphs": diminutive images (often sexual) using their initials. The letters constitute a highly balanced juxtaposition of art and prose. A carefully folded sheet of onion skin paper opens to reveal a heap of tangled cream string with only the words: "come, please, unravel me."  Cascades of red, pink and orange hearts inscribed "I want you" or "But I want you" tumble out of another letter. Reinhardt pens highly suggestive prose on the inside of a couple condom packages: "What would be the highest on the lowest, most on least, words on cardboard, thoughts on paper-package, the best feelings in general on the worst taste in particular writing material, fine on rough, bawdy, spirit in pulp, rubber love, maximum natural sensitivity . . ." Some letters provide travel itineraries so schedules can be coordinated; others contain lists and lists of words beginning with the letter "c" interspersed with his lover's name, "Charlotte" creating an almost dizzying pattern. Still others provide glimpses into his work: " just finished 7 5ft sq canvasses 60 x 60 leave Wednesday for Los Angeles. Have been finishing them . . . ." In a letter postmarked 8 June 1962 he queries: "Making paintings is a matter of faith and trust, isn't it?"

Through the years, the affair never seems to have lost its fire and Reinhardt's seductive charm never flags in his letters to his lover. The affair ends with Reinhardt's unexpected death in 1967. His lover carefully clipped  his New York Times obituary and carefully preserved it with the letters along with a clipping about the 2008 Reinhardt exhibition at the Guggenheim Museum.