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Robert MotherwellSamurai II1980
1980
About the Item
144.8 x 62.2 cms (57 x 24.5 ins)
Edition of 49
Lithograph and chine appliqué
Paper:Two joined sheets of natural Nepal handmade paper; natural Sekishu handmade paper
Proofs: 1 archive proof, 16 AP, numbered I/XVI-XVI/XVI, 1 CP, 1 PP, 1 RTP, 4 TP, numbered 1/4-4/4
Signature:Signed "RM" in black ink upper left
Inscriptions:Numbered in black ink upper left; workshop chop mark lower right; workshop number "RM79-390" in pencil reverse lower left
Publisher:Tyler Graphics Ltd., Bedford Village, New York
Printer:Lee Funderburg, Tyler Graphics Ltd.
Other Collaborators:Stone preparation and processing by Kenneth Tyler; proofing by Funderburg; screen preparation by Kim Halliday; paper preparation and adhering by Halliday and Steve Reeves
- Creator:Robert Motherwell (1915-1991, American)
- Creation Year:1980
- Dimensions:Height: 57 in (144.78 cm)Width: 24.5 in (62.23 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:
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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