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Rolph Scarlett“Abstract Figures, 1954”1954
1954
$3,200
£2,458.44
€2,824.72
CA$4,501.20
A$5,056.89
CHF 2,642.23
MX$61,721.74
NOK 33,548.66
SEK 31,578.99
DKK 21,079.12
About the Item
Original mixed media painting composed of acrylic paint, watercolor with traces of aerosol spray paint on vinyl by the Canadian/American artist, Rolph Scarlett. Signed by the artist lower right and dated 1954. Condition is very good.
The artwork is housed in a contemporary matt black frame 25.5 by 21.5 inches overall. Provenance: Eric Firestone Gallery, East Hampton, New York.
Rolph Scarlett was born on June 13, 1889 in Guelph, Canada, and into an artistic family, Rolph Scarlett spent his teenage years as an apprentice in his uncle’s jewelry firm and briefly studied at the Art Students League, New York. While working in the jewelry industry, Scarlett found time to paint and design theatrical sets in his
In 1944, he began to work at Stanley Hayter's Atelier 17, a center for surrealistic ideas. Between 1936 and 1943, he had five one-man exhibitions at the ACA Galleries and participated in five group shows. He also exhibited at the Whitney, the Pennsylvania Academy of Fine Arts, the Knox Albright Museum, the Chicago Institute of Fine Art and Corcoran, among others. His work can be found in the permanent collections of the Met, the Whitney, the Brooklyn Museum and the Jewish Museum.
In 1923, while on a business trip to Switzerland, Scarlett had met the artist Paul Klee and soon after abandoned his figurative painting style in favor of an abstract language that suggested more universal, cosmic truths.
In 1937, after permanently settling in New York, Scarlett became acquainted with the artist and curator Hilla Rebay, the first director of the Museum of Non-Objective Painting (renamed the Solomon R. Guggenheim Museum in 1952). Rebay provided Scarlett with a Guggenheim Foundation scholarship to paint full-time and obtained several of his paintings for the museum’s collection. From 1940 to 1946, Scarlett served as the museum’s chief lecturer, giving Sunday afternoon talks on art. Through Rebay, Scarlett became acquainted with the nonobjective works of Rudolf Bauer and Vasily Kandinsky and further refined his abstract style. Works from this era such as Yellow Bar (1942) are defined by overlapping geometric planes of bright, primary colors set against mute backgrounds. Scarlett avoided any reference to the outside world and believed that nonobjective painting was an act, in his words, of “pure creation.”
During his lifetime, solo shows of his work were held at the Jacques Seligmann Gallery, New York (1949); Sioux City Art Center, Iowa (1951); and Washburn Gallery, New York (1982). In addition to appearing in several important group shows at the Museum of Non-Objective Painting and the Guggenheim Museum, Scarlett’s work was also presented at the Metropolitan Museum of Art, New York (1950); Whitney Museum of American Art (1951); and Museum of Art, Carnegie Institute, Pittsburgh (now Carnegie Museum of Art, 1983). In his later years, Scarlett moved to upstate New York and continued to paint and design jewelry. Scarlett died on August 7, 1984, near Woodstock, New York.
- Creator:Rolph Scarlett (1891-1984, American)
- Creation Year:1954
- Dimensions:Height: 21.25 in (53.98 cm)Width: 13 in (33.02 cm)Depth: 1.25 in (3.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Slight wrinkles in corners.
- Gallery Location:Southampton, NY
- Reference Number:1stDibs: LU1417512492
Rolph Scarlett
Rolph Scarlett was a painter of geometric abstraction during the American avant-garde movement of the 1930s and 1940s. Scarlett was born in Guelph, Ontario, Canada in 1889, he left Canada at the age of 18 to go to New York City and returned to Canada during the years of World War I. However, by 1924, Scarlett had established New York City as his home. While he was beginning his career as an abstract painter, he was designing stage scenery for George Bernard Shaw's play, Man and Superman and the Rockettes at Radio City Music Hall. In 1939, while creating the Museum of Non-Objective Painting (later the Solomon R. Guggenheim Museum), Director Hilla Rebay began to take an interest in Scarlett's work. By 1940, he had become the new museum's chief lecturer. By 1953, the Guggenheim owned nearly 60 of his paintings and monoprints. Scarlett later became a resident of the Woodstock art colony for more than 25 years and showed his work in the Woodstock exhibits.
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