Robert Loughlin Blonde Brute Painting on Canvas, Signed

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Robert Loughlin Blonde Brute Painting on Canvas, Signed

About the Item

Robert Loughlin (1949-2011) "Blond Brute"painting on canvas, signed and dedicated to the pervious owner, Paul Campbell. Appropriately "Butched Up" painting over a found portrait of a blonde haired gentleman (Robert added rock star sunglasses, exaggerated nose and mouth, red lips and his signature cigarette). The under portrait was produced by Kubey-Rembrandt Studios (circa 1950s) and is marked in lower left corner of the canvas. Sold with the painting is a post-marked invitation (to Paul Campbell's NYC Apt.) from Loughlin's solo show at Rick Gallagher's 280 Modern Gallery- April 4 1990. Also included is an invitation from a group show at the Robert Miller Gallery: Found Painting from the Collections of ... , (May 29, 1985). The show featured works by Ross Bleckner, Kenny Scharf, Philip Pearlstein, Loughlin and other New York notable artists. Provenance: purchased from the estate auction of the late Paul Campbell, a NYC & Toronto based photographer, antiques dealer and a personal friend of Loughlin. The verso reads: "To Ten Years After..... Robert to Pablo XOXO". Sold with the painting is a post marked invitation (to Paul Campbell's NYC Apt.) from Loughlin's solo show at Rick Gallagher's 280 Modern Gallery- April 4 1990. Also included is an invitation from a group show at the Robert Miller Gallery: Found Painting from the Collections of ... , (May 29, 1985). The show featured works by Ross Bleckner, Kenny Scharf, Philip Pearlstein, Loughlin and other New York notable artists. 1990s Loughlin biography by Stephen Neil Greengard: Robert Loughlin is a latter-day Vandal. He defiles worn out standards and in the process creates a new art (although he would probably protest the epithet ‘artist’ precisely because he refuses to be sighted, catalogued, described, defined. He ransacks antique stores, thrift shops, flea markets, galleries, estates, and emerges with some treasure or monstrosity as proof of his visit. He will paint anything: furniture, wood, metal, plastic, glass, textiles, nothing is sacred. And a good thing too, because paradoxically, what he destroys he improves. That is the essence of his art. Loughlin demonstrates this even on the surfaces of his own canvases, painting over paintings, applying new surfaces and partially removing them to reveal a multi-layered history. The richness of these exercises improves with time and reveal more of his basic iconography. Loughlin’s obsessions are: Modern design and freedom (not necessarily in that order.) These he wields daily. Hourly. And they are everywhere visible in his work. His figures are men, brutish to the point of pornography, but this veiled sexuality is merely a vehicle to escape the ugliness of the city. They are projections of his wildness, his ideal of freedom. They are heroic. Life consists with wildness. The most alive is the wildest. It may be the preservation of the world. Graffiti- now rather a bad word among art-thinking circles- still means, and one hopes always will mean a crude, vital drawing or inscription on stone, plaster or some other hard surface. It is a form of poetry; signals, not always liable to interpretation, of the same order as the Prehistoric cave painting or the strip of papyrus. They remind us. Loughlin’s work is dark, yet luminous. Genius is a light which makes the darkness visible.

Creator:
Robert Loughlin (Artist)
Dimensions:
Height: 21 in (53.34 cm)Width: 16 in (40.64 cm)Depth: 1 in (2.54 cm)
Style:
Mid-Century Modern (Of the Period)
Materials and Techniques:
Canvas,Hand-Painted
Place of Origin:
North America
Period:
1980-1989
Date of Manufacture:
1989
Condition:
Wear consistent with age and use. As it is a painting over a found 1950's era photo portrait, the canvas, itself shows wear. It's the nature of Loughlin's work. The excellent biography, by Stephen Neil Greengard, in the description field, explains everything.
Seller Location:
New York, NY
Reference Number:
1stDibs: LU956919027832