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Raymond Parker
Untitled

1965

About the Item

"Untitled" is an oil on canvas painting made by Ray Parker in 1965. The piece is signed verso, "R. Parker, 30 x 24, 1965". The art size is 30 1/8 x 23 1/4 inches. The framed size is 31 7/8 x 25 x 1 5/8 inches. Ray Parker is most well known for his "Stroke" paintings of the 1950s and early 1960s. Smaller "Stroke" paintings like this are rare (only one of similar size and style has come to auction in the last ten years). Active in the AbEx movement, Parker was a part of major group exhibitions throughout the 1950s at museums including Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art. Parker's works currently reside in museum collections including Whitney Museum of American Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Museum of Fine Arts, Houston. Provenance: Francis Frost, Rhode Island Private Collection, New York Private Collection, Minnesota
  • Creator:
    Raymond Parker (1922 - 1990, American)
  • Creation Year:
    1965
  • Dimensions:
    Height: 30.12 in (76.51 cm)Width: 23.25 in (59.06 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Palm Desert, CA
  • Reference Number:
    Seller: 450571stDibs: LU9313564342

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"Untitled" is a painting by artist David Smith. The work is signed and dated in the upper left "David Smith (symbol) 1936". When David Smith set up a workshop on the Brooklyn Navy Pier in 1933 to learn direct-metal techniques, he shared the space not with artists, but with professional welders. Yet as he stated in 1964, ‘…all my early friends were painters…I never conceived of myself as anything other than a painter because my work came straight through the raised surface.’ Picasso and Cubism would be dominant influences in Smith’s work. He understood that Picasso imagined the world as a sculptor might, and not necessarily limited to the unavoidable impact of Cubism. In addition to pursuing a kind of rethinking of the world in three-dimensionality on his own terms, by the late 1920s, Picasso had shown interest in surrealism. That meant drawing not as a depiction of reality, but rather as a reconfiguration of the body in an assemblage of often precariously balanced, interconnected forms — some expressed in a three-dimensional form, others as drawings or paintings. Those processes are reflected in this work by David Smith; three fanciful totemic assemblages set within a landscape perspective of ground, mountains, and sky and whose presence is surreal enough to cast shadows under a presumed solar presence. Untitled, 1936 embraces surrealism, yet also serves to demonstrate the extent to which his thought processes are inextricably linked to sculpture and related to scale, spatial orientation, and three-dimensionality. With that in mind, it is not surprising to know that Smith saw no demarcation between sculpture and painting, or that a painting such as Untitled (1936) can exist outside of planning or design for future three-dimensional work. Provenance: Estate of David Smith, New York Hauser & Wirth Private Collection Exhibition: Kunstsammlung Nordrhein-Westfalen, ‘David Smith: Skulptureen, Zeichnungen [David Smith: Sculpture and Drawings]’ Dusseldorf/DE, March 14 – April 27, 1986 (travelled to: Städtische Galerie im Stäelschen Kunstinstitut, Frankfurt/DE, June 19 – September 28, 1986: Whitechapel Art Gallery...
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