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Robert MotherwellThe Quarrel (Belknap 294; Engberg & Banach 318)1983
1983
About the Item
Robert Motherwell
The Quarrel (Belknap 294; Engberg & Banach 318), 1983
Lithograph in colors on Arches cover mould paper
Hand signed and numbered 1/100 in graphite on the front with publisher's distinctive blind stamp. Accompanied by original Tyler Graphics label
40 × 25 1/2 inches
Unframed
Hand signed and numbered in graphite on the front with publisher's distinctive blind stamp. The work has been removed from its original frame, but the back board has been kept bearing the original label from the publisher, Tyler Graphics, New York.
There is no better art work for kissing and making up than "The Quarrel"!
This rare Robert Motherwell lithograph features the poem "The Quarrel" by the United States Poet Laureate Stanley Kunitz. Read the full text of the poem in the artwork and reproduced below; it makes an amazing gift to a loved one or work associate or as a reminder of these important universal truths in any home or office. The work is hand signed and numbered in graphite on recto (front) from an edition of 100. It also bears the publisher's distinctive blind stamp (Tyler Graphics, Ltd., Mount Kisco, New York).
Many editions of the present work are in the collections of major institutions such as the Tate, Walker Art Center, and the Museum of Modern Art, so it's good to find an available example.
Literature: (B. 294; Engberg and Banach (E. & B.) 318)
The full text of the poem is as follows:
The Quarrel
The word I spoke in anger
weighs less than a parsley seed,
but a road runs through it
that leads to my grave,
that bought-and-paid-for lot
on a salt-sprayed hill in Truro
where the scrub pines
overlook the bay.
Half-way I'm dead enough,
strayed from my own nature
and my fierce hold on life.
If I could cry, I'd cry,
but I'm too old to be
anybody's child.
Liebchen,
with whom should I quarrel
except in the hiss of love,
that harsh irregular flame?
Stanley Kunitz
This work is in very good condition; it is one of the brightest examples we have ever seen of this print as it was the first (#1) out of 100. It was removed from its original frame, but the back board bearing the publishers' label has been retained for provenance, to use when re-framing. There is some tape residue to the back which will frame out, minor waviness which should also frame out, and very minor time staining to on the lower corner by the blind stamp which is visible when carefully examined up close. (blown up here); otherwise an excellent impression of this uncommon Motherwell lithograph.
About Robert Motherwell:
Robert Motherwell (January 24, 1915 – July 16, 1991) was
an American abstract expressionist painter, printmaker,
and editor of The Dada Painters and Poets: an Anthology.
He was one of the youngest of the New York School, which
also included Willem de Kooning, Jackson Pollock, and
Mark Rothko. Trained in philosophy, Motherwell then
became an artist regarded as among the most articulate
spokesmen and the founders of the abstract expressionist
painters. He was known for his series of abstract paintings
and prints which touched on political, philosophical and
literary themes, such as the Elegies to the Spanish Republic.
- Creator:Robert Motherwell (1915-1991, American)
- Creation Year:1983
- Dimensions:Height: 40 in (101.6 cm)Width: 25.5 in (64.77 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:This is #1 of 100 so the yellow is bright and not faded as it is in later examples. It was framed so there's tape residue on back; and some gentle waviness both of which will frame out.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745213043992
Robert Motherwell
The name of painter, printmaker and writer Robert Motherwell (1915–91) is often taken as synonymous with the New York School, whose name he coined. Motherwell was the youngest of this group of Abstract Expressionists working in art, dance, poetry and music in 1950s and '60s New York City, which included Jackson Pollock, Willem de Kooning, Philip Guston, Helen Frankenthaler and Mark Rothko.
Born in Aberdeen, Washington, in 1915, Motherwell had perhaps the broadest and best education of any of the New York School coterie, with an extensive background in philosophy, literature and art history. He earned a BA in philosophy in 1937 from Stanford University and was working toward a PhD in the subject at Harvard when he interrupted his studies for a yearlong trip to Europe, where he fell in love with European modernism.
After returning, in 1940 he enrolled Columbia to study art history. It was there that he met a group of exiled Parisian Surrealists, and encounter that proved influential on his style. Motherwell began to integrate the idea of “automatism” — unmediated gestures that reflect deeper psychological impulses — into his work, pioneering a new form of Abstract Expressionism that came to characterize the New York School.
Works like the 1967 Beside the Sea no. 45, an acrylic on canvas, and the 1966 lithograph New York International epitomize Motherwell’s use of simple shapes in boldly contrasting colors, executed in quick, gestural strokes that occasionally evoke figures, suggesting a latent narrative despite their obvious abstraction.
Throughout his career, Motherwell taught painting at Hunter College, in New York, and at Black Mountain College, in North Carolina, where his work influenced the likes of Cy Twombly, Robert Rauschenberg and Kenneth Noland. His influence as one of the founding fathers of American Abstract Expressionism remains profound.
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