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Robert Mangold, Aquatint Etching Titled "Distorted Square Within a Circle"
$8,500
£6,348.17
€7,366.10
CA$11,772.56
A$13,196.95
CHF 6,881.91
MX$161,762.34
NOK 87,205.33
SEK 82,908.85
DKK 54,960.66
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About the Item
Robert Mangold "Distorted Square Within a Circle", 1973
Aquatint etching, Roman Numeral edition of 10 aside from the numbered edition of 50. Full sheet. Signed dated and numbered in pencil.
- Creator:Robert Mangold (Designer)
- Dimensions:Height: 31.5 in (80.01 cm)Width: 26.5 in (67.31 cm)Depth: 1.5 in (3.81 cm)
- Style:Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1978
- Condition:Wear consistent with age and use. Ready to place.
- Seller Location:Stamford, CT
- Reference Number:Seller: Avery & Dash - NHS1stDibs: LU918612762761
Robert Mangold
Robert Mangold (born October 12, 1937) is an American minimalist artist. “Robert Mangold’s paintings,” wrote Michael Kimmelman in the New York Times in 1997, “are more complicated to describe than they seem, which is partly what’s good about them: the way they invite intense scrutiny, which, in the nature of good art, is its own reward.” His works are comprised often of simple elements which are put together through complex means. Mangold's work challenges the typical connotations of what a painting is or could be, and his works often appear as objects rather than images. Elements refer often to architectural elements or have the feeling of an architect's hands. He almost always works in extensive series, often carried through both paintings and works on paper.
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A bit about Pasmore-
Beginning in 1947, he developed a purely abstract style under the influence of Ben Nicholson and other artists associated with Circle, becoming a pioneering figure of the revival of interest in Constructivism in Britain following the War. [6] Pasmore's abstract work, often in collage and construction of reliefs, pioneered the use of new materials and was sometimes on a large architectural scale. Herbert Read described Pasmore's new style as "The most revolutionary event in post-war British art".[7]
In 1950, he was commissioned to design an abstract mural for a bus depot in Kingston upon Thames[8] and the following year Pasmore contributed a mural to the Festival of Britain that promoted a number of the British Constructivists.
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Robert Mangold (born October 12, 1937) is an American minimalist artist. He is also father of film director and screenwriter James Mangold. Mangold first trained at the Cleveland Institute of Art from 1956-59, and then at Yale University, New Haven, (BFA, 1961; MFA, 1963).
In 1961 he married Sylvia Plimack, and they moved to New York. In the summer of 1962 Mangold was hired as guard at the Museum of Modern Art.
Mangold's work challenges the typical connotations of what a painting is or could be, and his works often appear as objects rather than images. Elements refer often to architectural elements or have the feeling architecture to them. He almost always works in extensive series, often carried through both paintings and lithograph works on paper. Mangold’s early work consisted largely of monochromatic free-standing constructions. In 1968 he began employing acrylic instead of oil painting, rolling rather than spraying it on Masonite or plywood grounds. Within the year, he moved from these more industrially oriented supports to canvas. In 1970 he began working with shaped canvases and within the year began brushing rather than spraying paint onto canvas. Mangold made his first prints in 1972 at Crown Point Press and has made prints throughout his career, working with Pace Editions and Brooke Alexander Editions.
In 1965, the Jewish Museum in New York held the first major exhibition of what was called Minimal art (Minimalism) and included Robert Mangold. In 1967, he won a National Endowment for the Arts grant and in 1969, a Guggenheim Fellowship. In 1971, he had his first solo museum exhibition at the Guggenheim Museum. Major museum exhibitions of his work have since been held the Museum of Contemporary Art, San Diego (1974), the Stedelijk Museum in Amsterdam (1982), Hallen für Neue Kunst in Schaffhausen (1993), and Musée d’Orsay in Paris (2006). He has been featured in the Whitney Biennial four times, in 1979, 1983, 1985, and 2004. His work is related to Geometric Abstraction.
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