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Robert Indiana"Love Notebook Page 2" Robert Indiana, Pop Art, Preparatory Drawing, American2014
2014
$2,000
£1,535.91
€1,760.14
CA$2,815.51
A$3,153.99
CHF 1,640.47
MX$38,472.16
NOK 20,885.32
SEK 19,693.36
DKK 13,137.19
About the Item
Robert Indiana
Love Notebook Page 2, 2014
Signed lower left, dated lower right
Artist's marker and graphite on paper
11 x 8 1/2 inches
Provenance
Gifted by the artist, Vinalhaven, Maine
Private collection, Maine.
Private Collection, New York. 2023
Robert Indiana was orphaned at birth and adopted as an infant by Earl and Carmen Clark. His childhood was tumultuous, as his family moved twenty-one times before his parents divorced when he was a teenager. Indiana was determined to pursue art, and chose to serve in the US Army Air Corps at the age of seventeen in order to attend the Art Institute of Chicago on the GI Bill following his service. After completing his degree, he moved to Lower Manhattan, where he lived and worked with several other artists. In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, once a major port on the southeast tip of Manhattan. There he joined a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman. The environment of the Slip had a profound impact on Indiana’s work, and his early paintings include a series of hard-edge double ginkgo leaves inspired by the trees which grew in nearby Jeannette Park. He also incorporated the ginkgo forms into his nineteen-foot mural Stavrosis (1958), a crucifixion pieced together from forty-four sheets of paper that he found in his loft. It was upon completion of this work that Indiana adopted the name of his native state as his own.
In 1958 he began using Indiana as his last name because he felt Clark was too common, and he wanted to copy Renaissance artists whose last names were the names of their towns. He is best known for his iconic 1966 Love sculpture and related prints, on which the widely distributed US postage stamp is based.
Although acknowledged as a leader of Pop, Indiana distinguished himself from his Pop peers by addressing important social and political issues and incorporating profound historical and literary references into his works. American literary references appear in paintings such as The Calumet (1961) and Melville (1961), exhibited in 1962 in Indiana’s first New York solo exhibition, held at Eleanor Ward’s Stable Gallery. In 1964 Indiana accepted Philip Johnson’s invitation to design a new work for the New York State Pavilion at the New York World’s Fair, creating a twenty–foot EAT sign composed of flashing lights, and collaborated with Andy Warhol on the film Eat, a silent portrait of Indiana eating a mushroom in his Coenties Slip studio. His first European solo exhibition took place in 1966 at Galerie Schmela in Düsseldorf, Germany, and featured his Number paintings (1964–65), a series of works on a theme that he has explored in various formats throughout his career.
- Creator:Robert Indiana (1928 - 2018, American)
- Creation Year:2014
- Dimensions:Height: 11 in (27.94 cm)Width: 8.5 in (21.59 cm)
- More Editions & Sizes:Unique workPrice: $2,000
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1841216725152
Robert Indiana
Robert Indiana's work evolved into hard-edged graphic images of words, logos and typographic forms, earning him a reputation as one of the country's leading contemporary artists.
Indiana is known for using public signs and symbols with altered lettering to make stark and challenging visual statements. In his prints, paintings and constructions, he gave new meaning to basic words like Eat, Die and Love. Using them in bold block letters in vivid colors, he enticed his viewers to look at the commonplace from a new perspective. One indication of his success was the appearance of his immensely popular multi-colored Love on a United States postage stamp in 1973.
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Located in New York, NY
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Signed and dated lower center
Artist's marker and graphite on paper
11 x 8 1/2 inches
Provenance
Gifted by the artist, Vinalhaven, Maine
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Signed lower left
Artist's marker and ink on paper
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Provenance
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Located in New York, NY
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Signed and dated lower left
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Provenance
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Signed and dated lower center
Artist's marker on paper
11 x 8 1/2 inches
Provenance
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Located in New York, NY
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Signed lower left, dated lower right
Artist's marker on ruled paper
10 x 8 inches
Provenance
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Located in New York, NY
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Signed lower right, dated lower left
Artist's marker on paper
11 x 8 1/2 inches
Provenance
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*Signed and dated by Indiana in pencil lower right
Year: 1996
Medium: Original Screenprint on A.N.W. Crestwood Museum Edition paper
Limited edition: 75/200, (there were also 50 impressions in roman numerals)
Printer: Freeman Burks of American Image Editions, New York, NY
Publisher: Michael McKenzie of American Image Editions, New York, NY
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Framed size: 32.13" x 30.63"
Sheet size: 24" x 20"
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Provenance: private collection - Cincinnati, OH. Numbered by Indiana in pencil lower left. Comes from Indiana's 1996 "Book of Love" portfolio of twelve screenprints of the same image in various colors, originally issued in a black-lettered brown paper-covered folio with accompanying twelve poems. Besides the Arabic and Roman numeral editions, there were also 15 artist's proofs. Technical Director: Peter Engert; Plate Maker: James Harvey; Counsel: Gregory S. Smith, Esq.; Fabricator: Al Hirshson; and Die Maker: York Display. Printed in three colors: white, gray, and dark gray.
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