John Little, born in 1907 in Alabama, commenced his artistic journey by attending the Buffalo Fine Arts Academy from 1924 to 1927. In 1933, he pursued further studies under George Grosz at the Art Students League, followed by a period of mentorship under Hans Hofmann from 1936 to 1943. Little was drawn to Hofmann's "Push Pull" theory, methodological approach, and use of color, seeking to comprehend how three-dimensional nature could be translated into two-dimensional paintings through the interplay of space, form, and color.
In 1946, Little embarked on a series of vibrant paintings featuring interlocking forms in cubist-inspired compositions with mythically themed titles. One of these works, the angular abstraction "Pagan Ritual" from 1946, garnered attention when included in a group show at the California Palace of the Legion of Honor in San Francisco. This led to Little's inaugural solo exhibition at the same venue in November 1946.
Experiencing a transformative period in the late 1940s, Little became acquainted with influential figures such as Jackson Pollock, Lee Krasner, and other avant-garde artists in the Hamptons. Lee Krasner, during one of Little's visits, mentioned a dilapidated three-hundred-year-old house for sale, sparking Little's interest. He purchased and renovated the house in 1948, also acquiring an old barn for use as his studio. This later became The Art House at Duck Creek, which is still active in the East End arts comminity today. The Hamptons became a hub for New York's avant-garde art scene, hosting renowned artists like Pollock, Krasner, Mary Abbott, and many others.
In the early 1950s, a shift in Little's artistic style became apparent. This new style, influenced by Hofmann's teachings, showcased a self-assured gestural abstraction, with Little expressing a departure from drawing, prioritizing form and color to convey his ideas. The culmination of his work came in the 1950s and would be described by Little as having a "savage quality" in its architectural composition.
Transitioning to the late 1950s, Little delved into a series of collage works on paper, ranging from spare and simple to elaborate compositions. These collages often originated from pages of the New York Times, layered with painted and torn paper, oil paint, and various materials close at hand, echoing the aggressive energy found in his oil paintings.
In 1982, Little was honored with a retrospective at Guild Hall in East Hampton, reflecting on a career that remained active until his passing in 1984.