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HAROLD KELLER

Artist and Educator, 1928-2017

Arkansas Years – late 1940s to early 1960s

photo of Harold Keller in the studio c. 1958.
photo c.1958: In the studio, Fort Smith, Arkansas
pencil drawing, have you investigated cartholicism?, by Harold Keller.
have you investigated catholicism?, 1949, pencil on paper, 8.75 x 5.75 inches, University of Arkansas at Fort Smith, Pebley Center
pencil drawing, god bless america, by Harold Keller.
god bless america, 1949, pencil on paper, 16.75 x 12.75 inches, The Fred Jones Jr. Museum of Art, University of Oklahoma
painting, Clayton Place, by Harold Keller.
Clayton Place, 1949, oil on canvas, 40 x 40 inches,
Location unknown
painting, Temple No. 17, by Harold Keller
Temple No. 17, 1950, oil on board, 21 x 37.75 inches, UAFS Gallery of Art and Design
ceramic piece, Figure with Blue Eyes, by Harold Keller
Figure with Blue Eyes, 1957, ceramic, 5 inches high, UAFS Gallery of Art and Design
ceramic piece, Woman No. 1, by Harold Keller
Woman No. 1, 1959, ceramic, 11.25 inches high, The Fred Jones Jr. Museum of Art, University of Oklahoma
painting, Demon Bishop, by Harold Keller.
Demon Bishop, 1956, oil on canvas, 36 x 26 inches, UAFS Gallery of Art and Design
painting, Temptation of St. Anthony, by Harold Keller
Temptation of St. Anthony, 1955, oil and gold leaf on panel, 14 x 8.25 inches, The Fred Jones Jr. Museum of Art, University of Oklahoma
painting, The Fulfillment, by Harold Keller
The Fulfillment, 1953, oil and gold leaf, 24 x 12 inches, Private Collection
painting, The Passover, by Harold Keller
The Passover, 1954, oil and gold leaf on panel, 13.75 x 7.25 inches, Private Collection
painting, Crucifixion, by Harold Keller.
Crucifixion, 1959, oil on canvas, 50 x 30 inches, Private Collection
painting, Diana the Huntress, by Harold Keller.
Diana the Huntress, 1958, oil on canvas, 55 x 30 inches, Private Collection
painting, Venus with Yellow Bird, by Harold Keller
Venus with Yellow Bird, 1957, oil on canvas, 40 x 28 inches, Private Collection
painting, Portrait of June, by Harold Keller
Portrait of June, 1955, oil on canvas, 28 x 20 inches, Private Collection
painting, The Arrival, by Harold Keller.
The Arrival, 1952, oil and gold leaf on board, 24 x 48 inches, Private Collection
pencil drawing, In Preparation for the Siege, by Harold Keller.
In Preparation for the Siege, 1951, pencil on paper, 9 x 12 inches, UAFS Gallery of Art and Design
painting, Rat, by Harold Keller
Rat, 1956, oil on canvas, 19 x 26.5 inches, Artist’s Estate
pencil drawing, Biblical project, by Harold Keller.
Biblical project, 1950s, pencil on paper, 9 x 11 inches, University of Arkansas at Fort Smith, Pebley Center
terracotta piece, Woman, by Harold Keller
Woman, 1960, terracotta, 12.25 inches high, Private Collection
ceramic piece, Woman No. 2, by Harold Keller.
Woman No. 2, 1959, ceramic, 9 inches high, Private Collection
pencil drawing, Drawing of pots, by Harold Keller.
Drawing of pots, 1958, pencil on paper, 7.25 x 10.5 inches, University of Arkansas at Fort Smith, Pebley Center
mixed media, Figure (3), by Harold Keller.
Figure (3), 1960, oil, gold leaf and paper on canvas, 30 x 17.5 inches, Artist’s Estate
Arkansas Gazette news clipping, 1961 showing Harold Keller and his paintings.
News clipping from the Arkansas Gazette, Feb. 7, 1961, about the exhibition held in Little Rock, Arkansas, of paintings from the 1950s, which included the Crucifixion
photo of Harold Keller at an exhibition in the Jewish Museum, NYC, 1955.
photo 1953: At the exhibition Religious Art at the Jewish Museum, New York City

Harold Keller received a BA in art and philosophy from the University of Arkansas in 1949, studied for his Master’s Degree at NYU in the 1950s, and from 1956 to 1962 taught art and philosophy at Fort Smith Junior College (now a campus of the University of Arkansas). A 1946 graduate of Brooklyn Technical High School, his early work was influenced by his Jewish upbringing, the humor of Saul Steinberg, the paintings of Paul Klee, German graphic arts of the late 15th century, Jewish mysticism, Christian symbolism and a penchant for classical themes such as the Birth of Venus. His art is delicately figurative until 1960, when, at the suggestion of his NYU instructor, Hale Woodruff, he turns to collage, with abstract images of female bathers on Brighton Beach in Brooklyn.