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Robert IndianaShalom Pax Paix (The Peace Print) silkscreen on Rives BFK paper signed/N 35/502004
2004
About the Item
Robert Indiana
Pax, Paix, Shalom (The Peace Print), 2004
Silkscreen in 4 colors on rives BFK paper
Hand signed, dated, titled and numbered 35/50 in pencil by Robert Indiana on the front
Published by the Tel Aviv Museum
33 × 32 inches
Unframed
A wonderful symbol and message of peace. A rare and poignant work, published in a limited edition of only 50. Pencil signed and numbered on the recto, and also annotated with the word "Shalom" hand written in pencil.
About Robert Indiana:
One of the preeminent figures in American art since the 1960s, Robert Indiana played a central role in the development of assemblage art, hard-edge painting, and Pop art. Indiana, a self proclaimed “American painter of signs,” created a highly original body of work that explores American identity, personal history, and the power of abstraction and language, establishing an important legacy that resonates in the work of many contemporary artists who make the written word a central element of their oeuvre.
Robert Indiana was born Robert Clark in New Castle, Indiana on September 13, 1928. Adopted as an infant, he spent his childhood moving frequently throughout his namesake state. His artistic talent was evident at an early age, and its recognition by a first grade teacher encouraged his decision to become an artist. In 1942, Indiana moved to Indianapolis in order to attend Arsenal Technical High School, known for its strong arts curriculum. After graduating he spent three years in the U.S. Air Force and then studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine, and the Edinburgh College of Art in Scotland.
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 form 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.
Indiana, like some of his fellow artists, scavenged the area’s abandoned warehouses for materials, creating sculptural assemblages from old wooden beams, rusted metal wheels, and other remnants of the shipping trade that had thrived in Coenties Slip. While he created hanging works such as Jeanne d’Arc (1960–62) and Wall of China (1960–61), the majority were freestanding constructions which Indiana called “herms” after the sculptures that served as boundary markers at crossroads in ancient Greece and Rome. The discovery of nineteenth-century brass stencils led to the incorporation of brightly colored numbers and short emotionally charged words into these sculptures as well as canvases, and became the basis of his new painterly vocabulary.
- Creator:Robert Indiana (1928 - 2018, American)
- Creation Year:2004
- Dimensions:Height: 33 in (83.82 cm)Width: 32 in (81.28 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745214180442
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