Over the course of his prolific and influential career, Sol LeWitt (1928–2007) produced approximately 1,350 wall drawings, comprising approximately 3,500 installations at more than 1,200 venues.
Sol LeWitt – Instructions for a Pyramid, Galería OMR, Mexico City, 2017
Why did Sol LeWitt let others paint his ideas?
Early in his career, Sol LeWitt began to have others help execute his wall drawings. Wall Drawing 16 was first drawn by a draftsman, which helped LeWitt realize his work according to his instructions and diagrams, addressing practical concerns such as the time-consuming nature of the drawings.
More significantly, however, this choice articulated LeWitt’s belief that the conception of the idea, rather than its execution, constitutes the artwork. He also rejected the traditional importance assigned to the artist’s own hand.
The artist executed the earliest wall drawings within a square, usually four by four feet (122 x 122 cm) wide, but by 1969 he was using the entire wall, starting with Wall Drawing 16.
Sol LeWitt – Wall Drawing #16, September 1969, Black pencil, Bands of lines 12 inches (30 cm) wide, in three directions (vertical, horizontal, diagonal right) intersecting.
The different types of Wall Drawings
Forms may appear to be flat, recede into space, or project into the viewer’s space, while others meld into the structure of the wall itself. The drawings range from:
Layers of straight lines meticulously drawn in black graphite pencil lead
Rows of delicately rendered wavy lines in colored pencil
Bold black-and-white geometric forms
Bright planes in acrylic paint arranged like panels of a folding screen
Sensuous drawings created by dozens of layers of transparent washes
A tangle of vibratory orange lines on a green wall
And many more
Sol Lewitt – Installation view, Pyramides, Marian Goodman, Paris, Nov 17, 2012 – Jan 19, 2013
Sol LeWitt: Anyone can do art
Since Sol LeWitt did not like public speaking, when he visited and lectured at the School of the Museum of Fine Arts in Boston in 1971, he did not want to lecture the students and instead opted to create a drawing with them. The wall drawing that ensued, as a result, included poetic-styled instructions for a wall drawing.
Sol LeWitt thought that anyone could do art, but the quality depended on the idea from which art was generated. As such, writing down instructions for interpretation to create their own version of a wall drawing was an important part of the creating process.
Sol LeWitt – Lines of One Inch, Four Directions, Four Colours (set of 16), 1971, Lithograph on paper, 35,6 x 35,6 cm
Sol LeWitt’s instructions
Early in his career, Sol LeWitt started using the instructions to define his incredible conceptual wall drawings, representing the ideas that became a work of art in itself.
Following the idea of conceptualism or conceptual art1 where the main concern is the artist’s ideas, Sol LeWitt started his wall drawings with an idea put into words as instructions. Sol LeWitt focused on the concept over construction and hence created his most renowned instruction-based artworks.
Instructions open to interpretation
Based on this focus, Sol LeWitt believed that the artist’s idea was a work of art in itself and could be considered a blueprint such as that developed by an architect and based on the idea, other people could interpret it and make it.
He transformed the artistic process elements into works of art themselves. His most recognizable series, his wall drawings, are an installation created from his unique instructions. The instructions were not as precise as blueprints but were open to interpretation by creators.
What the instructions entailed
Sol LeWitt’s instructions consisted of directions for the production of a work of art itself and a refined vocabulary of visual art hinting at architectural specifications and mathematical equations. As such, the directions also included basic colors, lines and simplified shapes employed according to his own invented formulae.
The instructions were relatively simple and since they are open to interpretation, no two artworks created by different artists based on the same instructions by Sol LeWitt are the same.
About the Artist
Sol LeWitt was a renowned American conceptual artist and painter, born in 1928 and died in 2007. Best known for his colorful Wall Drawings, which is an exploration between the architecture and the work itself, he prided himself in the creation of art, not in its meaning or material formulation.
He served in the Korean War and after opened a studio in NYC working at Seventeen magazine2 to explore his interest in creating designs.
Portrait of Sol LeWitt with cat
Why is Sol LeWitt important?
LeWitt, who stressed the idea behind his work over its execution, is widely regarded as one of the leading exponents of Minimalism and Conceptual art and is known primarily for his deceptively simple geometric structures and architecturally scaled wall drawings.
His experiments with the latter commenced in 1968 and were considered radical because this new form of drawing was purposely temporary and due to the collaborative element.
Video: How did Sol LeWitt work?
Sol LeWitt how he worked and what kind of man he was, as remembered by his former assistant Jeremy Zieman and the curator of the Sol Lewitt Collection, Janet Passehl.
4 min 2 sec
Wall Drawings
1970s
Sol LeWitt – Wall Drawing #122, 1972, Black pencil grid, blue crayon arcs and lines, Paula Cooper Gallery, New YorkSol LeWitt – Wall Drawing #238, June 1974, Black pencil and black crayon, LeWitt Collection, Chester, ConnecticutSol LeWitt – Wall Drawing #260 at San Francisco Museum of Art, 1975, photo: Rudy BenderSol LeWitt – Wall Drawing #260, 1975Sol LeWitt – Wall Drawing #280, 1976 A six-inch (15cm) grid covering a yellow wall. Blue lines from the four corners, red lines from the midpoints of the four sides, white lines from the center to points on the grid.
1980s
Sol LeWitt – Wall Drawing #340, July 1980Sol LeWitt – Wall Drawing #343A,B,C,D,E,F, December 1980, white crayon on black wallSol LeWitt – Wall Drawing #343 G, December 1980, white crayon on black wallSol LeWitt – Wall Drawing #354, 1981, ink, installation view, Fondation Beyeler, Basel, Switzerland, photo: Fabio FabbriniSol LeWitt – Wall Drawing #346, 1981, india inkSol LeWitt – Wall Drawing #356 BB, Cube Without a Cube, 1981, inkSol LeWitt – Wall Drawing #366, 1982Sol LeWitt – Wall Drawing #368, 1982Sol LeWitt, Wall Drawing #370, 1982, installation view, Gallery 399 at The Metropolitan Museum of Art, August, 2014Sol LeWitt, Wall Drawing #370, 1982, installation view, Gallery 399 at The Metropolitan Museum of Art, August, 2014Sol LeWitt – Wall Drawing #386, 1983, india ink wash and color ink wash Stars with three-, four-, five-, six-, seven-, eight-, and nine-points, drawn with a light tone India ink wash inside, an India ink wash outside, separated by a six-inch (15 cm) white band (A-G)Sol LeWitt – Wall Drawing #393, 1983, Red, yellow, blue, and black crayon with black pencil grid on white wall, installation view, Paula Cooper Gallery, New YorkSol LeWitt – Wall Drawing #397, 1983, ART, a Hotel, Denver, COSol LeWitt – Wall Drawing #413, 1984, color ink wash Drawing Series IV (A) (24 drawings) Sol LeWitt – Wall Drawing #442, 1985, Performance Hall Foyer, Yale-NUS College, photo: David ZhangSol LeWitt – Wall Drawing #467, 1985, Marian Goodman GallerySol LeWitt – Wall Drawing #463, January 1986, india ink washSol LeWitt – L-R: Wall Drawing #483, Wall Drawing #487, Wall Drawing #485 at Magasin – Centre National d’Art Contemporain de Grenoble, France, 1986, photo: Quentin BertouxSol LeWitt – Wall Drawing #528 G, 1987, Color ink washes superimposed on wallSol LeWitt – Wall Drawing #564, Complex forms with color ink washes superimposed, 1988, installation view, Paula Cooper Gallery, Sept 2013Sol LeWitt – Wall Drawing #579, November 1988, Color ink wash, Private collection, New YorkSol LeWitt – Wall Drawing #620, 1989, Fundación Botín, Santander, Spain Form derived from a cubic rectangle, with color ink washes superimposed
1990s
Sol LeWitt – Wall Drawing #631, 1990, india inkSol LeWitt – Wall Drawing #711, 1992, Musée de Picardie, Amiens, FranceSol LeWitt – Wall Drawing #711, 1992, Musée de Picardie, Amiens, FranceSol LeWitt – Wall Drawing #681, August 1993, Color ink washSol LeWitt – Wall Drawing 793B, January 1996, Color ink washSol LeWitt – Wall Drawing 822, April 1997, Acrylic PaintSol LeWitt – Wall Drawing #831, 1997 (Geometric Forms), acrylicSol LeWitt – Wall drawing #869, 1998 Copied Lines. From the top of a 48-inch (122 cm) square, draw a not straight horizontal line. The line is black. The second line is drawn beneath the first line, as close as possible, imitating the first line. The next line is drawn beneath the second line. Continue copying, until the bottom of the square is reached Marker or crayon, pencilSol LeWitt – Wall Drawing #879, 1998, Loopy Doopy (black and white), acrylicSol LeWitt – Wall Drawing 880, Loopy Doopy (orange and green), september 1998, Acrylic paint, Addison Gallery of American ArtSol LeWitt – Wall drawing #836, 1998, Bonnefantenmuseum, 2011, photo: Peter CoxSol LeWitt – Wall Drawing #915, September 1999, Acrylic paintSol LeWitt – Wall Drawing #614, 1999, Fundación Botín, Santander, SpainSol LeWitt – Wall Drawing #901, 1999, Bonnefantenmuseum, 2011, photo: Peter Cox
2000s
Sol LeWitt – Wall Drawing #1005, Isometric form. December 2001, Acrylic paintSol LeWitt – Wall Drawing #1037, April 2002, Acrylic paintSol LeWitt – Wall Drawing #1042, May 2002, Acrylic paintSol LeWitt – Wall Drawing #1113, 2003, Hirshhorn MuseumSol LeWitt – Wall Drawing #1081, March 2003, Acrylic paintSol LeWitt – Wall Drawing #1138: Forms composed of bands of color, 2004, acrylic paint, installation view, Lisson Gallery, LondonSol LeWitt – Wall Drawing #1118, Whirls, 2004, acrylic paint, 125 1/4 x 280 3/4 inc, Crown Center Neighborhood, Kansas City, USASol LeWitt – Wall Drawing #1131, Whirls and Twirls (Wadsworth), 2004, Wadsworth Atheneum Museum of Art, Hartford, ConnecticutSol LeWitt – Wall Drawing #1183, 2005, acrylic paint, Bonnefantenmuseum, 2011, photo: Peter CoxSol LeWitt – Wall Drawing #1183, 2005, acrylic paint, Bonnefantenmuseum, 2011, photo: Peter CoxSol LeWitt – Wall Drawing #1152, Whirls and Twirls (Met), April 2005, Acrylic Paint, LeWitt Collection, Chester, ConnecticutSol LeWitt – Wall Drawing #1185, Graphite, October 2005Sol LeWitt – Wall Drawing #1186, October 2005, Graphite, Collection of Alessandro MaccaferriSol LeWitt – Wall Drawing #1238, Whirls and Twirls, 2007, John and Mary Pappajohn Education Center, 1200 Grand Avenue, Des MoinesSol LeWitt – Wall Drawing #1238, Whirls and Twirls (detail), 2007, John and Mary Pappajohn Education Center, 1200 Grand Avenue, Des MoinesSol LeWitt – Wall Drawing #1256, United States Embassy in Berlin, Germany, February 2008, Acrylic paint, 457 x 914 cmSol LeWitt – Wall Drawing #1261, July 2008, Graphite, designated for Yale University Art Gallery
All images by the Estate of Sol LeWitt/ARS unless otherwise noted.