# Herb Aach

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**Herbert Aach** (March 24, 1923 – October 13, 1985) was an American [painter](/source/Painter) and [writer](/source/Writer). Aach's painting style is known for its intense and well placed pigmentation, which stemmed from his deep interest in [color theory](/source/Color_theory) and color relationships. This interest in color theory and philosophy would lead him to write one of the most notable translations of *[Goethe's Color Theory](/source/Theory_of_Colours_(book))*.

## Personal life and teaching

Herb Aach was born in [Cologne](/source/Cologne), [Weimar Republic](/source/Weimar_Republic), in 1923. It was in Germany where Aach would be exposed to fine art, studying under [German expressionist](/source/German_expressionist) painter [Ludwig Meidner](/source/Ludwig_Meidner). [Nazi](/source/Nazi_Germany) persecution caused his family to flee, and in 1938 he arrived in [New York City](/source/New_York_City). In 1942 he [enlisted](/source/Enlistment) in the [United States Army](/source/United_States_Army) and a year later he became a [U.S. citizen](/source/Citizenship_in_the_United_States). After serving during [World War II](/source/World_War_II), in [Kassel](/source/Kassel), Germany, he returned to New York in 1946 where he studied under [John Ferren](/source/John_Ferren) and [Rufino Tamayo](/source/Rufino_Tamayo) at the [Brooklyn Museum Art School](/source/Brooklyn_Museum). In 1948 he moved, with his new wife, to [Mexico City](/source/Mexico_City) where he continued his fine art studies at [Escuela de Pintura y Escultura](/source/Escuela_de_Pintura_y_Escultura).[1]

Upon returning from Mexico, Aach would practice painting in what was described as "relative isolation," between 1954 and 1963 in [Hazleton, Pennsylvania](/source/Hazleton,_Pennsylvania). He would eventually move back to New York City in 1963 and began teaching at [Queens College](/source/Queens_College,_City_University_of_New_York) in 1965, where he would continue to teach for the rest of his life.[2] At Queens he taught studio art and color theory and became a favorite of students, gaining tribute in the 1968 school [yearbook](/source/Yearbook) and voted twice as "Teacher of the Year".[3] He would serve as chairman of the arts department from 1976 to 1979.[3] He also taught at the [Pratt Institute](/source/Pratt_Institute) from 1966 to 1969.[2] In the 1970s Aach visited [East Germany](/source/East_Germany) to participate in the [International Research and Exchanges Board](/source/International_Research_and_Exchanges_Board) outreach program to broaden cultural exchanges between the West. While in East Germany he studied at the [Goethe](/source/Goethe) archives in [Weimar](/source/Weimar) and became interested in [rose windows](/source/Rose_windows). Back in New York, he worked with city officials to paint city bridges bright colors, such as the [Madison Avenue Bridge](/source/Madison_Avenue_Bridge) which was painted lavender. He became president of the [Artists Technical Research Institute](/source/Artists_Technical_Research_Institute) in 1975.[4] In 1979 he was diagnosed with cancer and due to illness he became unable to paint, taking up drawing as his main format.[1] He died October 13, 1985, of cancer at the [Memorial Sloan–Kettering Cancer Center](/source/Memorial_Sloan%E2%80%93Kettering_Cancer_Center).[3]

## Career

### Painting

Aach's early professional career was heavily inspired by the work of John Ferren and his ideas regarding [color theory](/source/Color_theory). Upon returning to the United States from Mexico, Aach explored his ideas about color execution in painting, where he developed the *color expressionism* style. This style formed out of his time developing paint at [Art Crayon Company](/source/Art_Crayon_Company), which provided him access to [pigments](/source/Pigment) rarely accessible for public use and allowed him to experiment with newly developed pigmentation which he added to his own paints. He was also provided new pigments by [DuPont](/source/DuPont) and by the mid-1960s he began using [fluorescent](/source/Fluorescent) paints to achieve what has been described as "intensity and inner light".[1]

In the mid-1960s he moved from creating lush brushstrokes to creating larger areas of color upon the canvas allowing him to seek a "purer framework in which to explore color relationships." His estate describes the importance of color relationships in his art:

Color relationships were central, built on innate physiological predispositions, and color was therefore too important to waste as a mere "label" for establishing objectural references.[1]

In 1974 he created the body of work *Precession of Equinoxes*. In this series Aach started with covering [canvas](/source/Canvas) in thin layers of [gesso](/source/Gesso), inspired by [Giotto](/source/Giotto)'s [fresco](/source/Fresco)-like surfaces. After laying the groundwork for his canvas, he painted sharp lines between color regions and used his signature fluorescent colors. Even with a use of hard lines, Aach believed his use of color overpowered the placement and appearance of the lines.[1] [Art critic](/source/Art_critic) Noel Frackman described the series as "handsome, uncomplicated paintings".[5]

### Writing

Inspired by his interest in color theory, in 1971 Aach edited and translated Goethe's *[Theory of Colours](/source/Theory_of_Colours)*.[1] He also contributed articles about color theory and practice and reviews to various arts publications.

## Reception

[Louis Finkelstein](/source/Louis_Finkelstein_(artist)) described Aach's work as being heavily "located in cultural tradition" in relation to his influences, those he influenced, and the skills and styles of [Irish manuscripts](/source/Irish_manuscripts), [textiles](/source/Textiles), [Chinese](/source/Chinese_art) and [Colombian art](/source/Colombian_art).[1] In 1974 [art critic](/source/Art_critic) Noel Frackman declared Aach a [pioneer](https://en.wiktionary.org/wiki/pioneer).[5]

## Notable exhibitions

- [Albright-Knox Art Gallery](/source/Albright-Knox_Art_Gallery), 1975, [Buffalo, New York](/source/Buffalo,_New_York)
- [Bronx Museum of the Arts](/source/Bronx_Museum_of_the_Arts), 1977, New York City
- [Drew University](/source/Drew_University), 1971, [Madison, New Jersey](/source/Madison,_New_Jersey)
- [Everhart Museum](/source/Everhart_Museum), 1959, [Scranton, Pennsylvania](/source/Scranton,_Pennsylvania)
- [Mint Museum](/source/Mint_Museum), 1987, [Charlotte, North Carolina](/source/Charlotte,_North_Carolina)
- [Pennsylvania State University](/source/Pennsylvania_State_University), 1962, [State College, Pennsylvania](/source/State_College,_Pennsylvania)
- [Whitney Museum of American Art](/source/Whitney_Museum_of_American_Art), 1952; 1956, New York City[6]

## Notable collections

- [Albright-Knox Art Gallery](/source/Albright-Knox_Art_Gallery)
- [Corcoran Gallery of Art](/source/Corcoran_Gallery_of_Art)
- [Metropolitan Museum of Art](/source/Metropolitan_Museum_of_Art)
- [State Museum of Pennsylvania](/source/State_Museum_of_Pennsylvania)[2]

## References

### Notes

1. John Aach (2007). ["Herb Aach"](https://archive.today/20121220045810/http://home.comcast.net/~jaach/). John Aach & Doris Aach. Archived from [the original](http://home.comcast.net/~jaach/) on December 20, 2012. Retrieved June 12, 2011.

1. ["Herbert Aach papers, 1942–1988."](http://siris-archives.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siarchives&uri=full=3100001~!208833~!0). Archives of American Art, Smithsonian Institution. Retrieved June 12, 2011.

1. ["Artists & Works"](https://web.archive.org/web/20110825093647/http://purple.niagara.edu/cam/art_of_70s/Artists/aach.html). *Artwork of the 70s*. Castellani Art Museum. Archived from [the original](http://purple.niagara.edu/cam/art_of_70s/Artists/aach.html) on August 25, 2011. Retrieved June 12, 2011.

1. Mayer, Ralph (1975). "The Artists Technical Research Institute". *Art Journal*. **34** (4): 316–319. College Art Association. [doi:10.1080/00043249.1975.10793701](https://doi.org/10.1080/00043249.1975.10793701). [JSTOR 775912](https://www.jstor.org/stable/775912)

1. John Aach (2008). ["Herb Aach: Reviews"](http://home.comcast.net/~jaach/reviews.htm#FRACKMAN). *Herb Aach*. John Aach & Doris Aach. Retrieved June 12, 2011.

1. John Aach (2003). ["Herb Aach (1923–1985)"](http://home.comcast.net/~jaach/aachshow.htm). John Aach & Doris Aach. Retrieved June 12, 2011.

### Published works by Aach

- Aach, Herb. "A painters' quarrel on use of photographs." *Art Journal* 27.2 (1967–68): 220.
- Aach, Herb. "On the use and phenomena of fluorescent pigments in paintings." *Leonardo* 3.2 9 (1970): 135–138.
- Aach, Herb. "Reviews: *Painting with Synthetic Media* by Russell O. Woody, Jr. & *Painting with Acrylics* by José Gutierréz; Nicholas Roukes." *Art Journal* 26.2 (1966–67): 212; 214.
- Matthaei, Rupprecht, *Goethe's Color Theory*. By Johann Wolfgang von Goethe. Arranged and edited by [Rupprecht Matthaei](/source/Rupprecht_Matthaei). American ed. translated and edited by Herb Aach. [Van Nostrand Reinhold](/source/Van_Nostrand_Reinhold), 1971.

### Bibliography

- Sloane, Patricia. *Primary Sources: Selected Writings on Color from Aristotle to Albers*. Culver City: Design Press, 1991. ISBN 0-8306-3481-9
- Wilson, Michael (1972). "Review: Goethe's Colour Theory". *Leonardo*. **5** (2): 179–180. [doi:10.2307/1572566](https://doi.org/10.2307/1572566). [JSTOR 1572566](https://www.jstor.org/stable/1572566)
- Wolbarsht, Myron L (1972). "Review: Goethe's Colour Theory". *The Quarterly Review of Biology*. **47** (4): 472. [doi:10.1086/407469](https://doi.org/10.1086/407469)

## External links

- [Herbert Aach papers, 1942–1988](https://www.aaa.si.edu/collections/herbert-aach-papers-6708) in the collection of the [Archives of American Art](/source/Archives_of_American_Art)

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