bigdata-pw/tate · Datasets at Hugging Face

12 oil-based woodcuts on japanese handmade paper

[ { "append_role_to_name": false, "date": "1911–2010", "fc": "Louise Bourgeois", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/louise-bourgeois-2351" } ]

3,321

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2,005

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

Spirals

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

AL00346

{ "id": 4, "meta": { "type": "art.Classification" } }

7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149

Louise Bourgeois

2,005

[]

Spirals is a suite of twelve oil-based woodcut prints on Japanese paper. The prints are arranged in a grid formation with three rows of four prints. Each print depicts a spiral, with nine of the prints using red ink, two using black ink and one using blue ink. The spirals range in shape and size, with some of the spirals contained within the limits of the paper and others continuing beyond the picture plane. The line of each spiral is also different in each print, varying in thickness, with some more geometric and precise in style and others loose and flowing. The spirals were created by drawing on traditional Japanese printmaking methods and are printed on Japanese paper. The grain from the wood used to produce the prints is clearly visible on the spirals.

false

1

https://media.tate.org.u…AL/AL00346_8.jpg

2351

paper print 12 oil-based woodcuts japanese handmade

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Spirals

2,005

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 On long term loan

2005

CLEARED

4

image, each: 356 × 422 mm frame, each: 400 × 466 × 38 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSpirals is a suite of twelve oil-based woodcut prints on Japanese paper. The prints are arranged in a grid formation with three rows of four prints. Each print depicts a spiral, with nine of the prints using red ink, two using black ink and one using blue ink. The spirals range in shape and size, with some of the spirals contained within the limits of the paper and others continuing beyond the picture plane. The line of each spiral is also different in each print, varying in thickness, with some more geometric and precise in style and others loose and flowing. The spirals were created by drawing on traditional Japanese printmaking methods and are printed on Japanese paper. The grain from the wood used to produce the prints is clearly visible on the spirals.\nThe spiral appears frequently in both Bourgeois’s sculpture and her work on paper, including in A l’infini 2008–9 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-a-linfini-al00357\" title=\"View the details of this artwork\">AL00357</a>), where the spiral is representative of an endless natural cycle. Specifically, the spiral is often used by Bourgeois to represent the constant continuation of birth, life and rebirth, sometimes associated directly with motherhood, as can be seen in Nature Study 1986 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-nature-study-al00228\" title=\"View the details of this artwork\">AL00228</a>). Bourgeois explained her repeated return to the imagery of the spiral:\n\n<blockquote>The spiral is important to me. It is a twist. As a child, after washing tapestries in the river, I would turn and twist and ring them … Later I would dream of my father’s mistress. I would do it in my dreams by ringing her neck. The spiral – I love the spiral – represents control and freedom. (Quoted in Gardner 1994, p.68.)</blockquote>\nFor Bourgeois the spiral represents the abstract concepts of control and freedom as well as being invested with a personal symbolism. The sense of the artist exerting a level of control over her work is compounded by the decision to display the prints in a grid formation. The use of the grid is also a common feature of Bourgeois’s works on paper and is perhaps a reference to her training in geometry at the Sorbonne, the study of which had a direct impact on her artwork: ‘My minimalism came from my love of geometry. Sometimes it is inherently dynamic: a study of conflicting forces, which is never static’ (quoted in Frances Morris (ed.), Louise Bourgeois, exhibition catalogue, Tate Modern, London 2007, p.148). The use of both free-flowing and precise spiralling lines in Spirals could also be a reference to the duality of control and freedom as described by the artist.\nBourgeois’s use of the colour red in Spirals is another recurring characteristic of her work. The artist often uses the colour to refer to the extremes of human emotion. Bourgeois said: ‘Red is an affirmation at any cost – regardless of the dangers in fighting – of contradiction, of aggression. It’s symbolic of the intensity of the emotions involved’ (quoted in Askew and d’Offay 2013, p.85). In this work the colour red appears most frequently in the twelve prints. However, the colours blue and black also appear. Bourgeois contrasts blue and black in a diary entry of 1986: ‘Nothing can satisfy the need to cover everything in blue. The opposite is in black – black from suicide, a black point, the deep black of a well, the solemnity … That is why blue pinches my heart. It’s a defence, like overeating sugar’ (quoted in Morris 2007, p.83). In her predominant use of red tempered with blue and black, the artist may have been reinforcing the use of the spiral as symbolic of the cyclical nature of life, whereby moments of intense emotion and aggression alternate with periods of contentment, thoughtfulness, depression and solemnity.\n\nFurther reading\n Paul Gardner, Louise Bourgeois, New York 1994. Mignon Nixon, Fantastic Reality: Louise Bourgeois and a Story of Modern Art, Cambridge, Massachusetts and London 2005. Lucy Askew and Anthony d’Offay, Louise Bourgeois: A Woman Without Secrets, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, p.94, reproduced p.8, pp.58–9.\nAllan Madden University of Edinburgh November 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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artwork

Bronze, gold patina

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3,322

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<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

Janus Fleuri

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

AL00347

{ "id": 8, "meta": { "type": "art.Classification" } }

7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149

Louise Bourgeois

1,968

[]

Bourgeois made a number of works in the late 1960s that had the ability to combine both masculine and feminine elements. This hanging sculpture combines two ‘mirror image’ phallic aspects, both made by casting an original sculpture. The two-headed ‘Janus’ takes its title from the Roman god who is usually depicted with two faces, looking back into the past and forwards into the future.Gallery label, October 2016

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1

https://media.tate.org.u…AL/AL00347_8.jpg

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sculpture bronze gold patina

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Janus Fleuri

1,968

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013 On long term loan

1968

CLEARED

8

object: 257 × 318 × 213 mm, 12 kg

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

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[]

null

false

artwork

Gouache on paper

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3,323

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,007

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

Femme

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Tate Americas Foundation for the Tate Gallery, courtesy of The Easton Foundation 2013

AL00348

{ "id": 5, "meta": { "type": "art.Classification" } }

7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149

Louise Bourgeois

2,007

[]

Femme 2007 is a work in red gouache on paper that depicts an ostensibly female form. The figure is portrayed in outline only, her body visible down to the knee, with the lower legs and feet not pictured. The shape of her breasts, navel, vulva and upper thighs are each picked out in single brushstrokes. Her face has no features and her arms are obscured by brushstrokes emanating from the top of the head and continuing to the base of the painting, depicting the figure’s hair. The paint appears smudged in some areas, potentially where it has been mixed with water, reducing the vivid red of the gouache to shades of pink. The artist has included her initials (‘LB’) in black at the bottom right corner of the painting.

false

1

https://media.tate.org.u…AL/AL00348_8.jpg

2351

paper unique gouache

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Femme

2,007

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Tate Americas Foundation for the Tate Gallery, courtesy of The Easton Foundation 2013 On long term loan

2007

CLEARED

5

frame: 680 × 543 × 40 mm image: 597 × 457 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Tate Americas Foundation for the Tate Gallery, courtesy of The Easton Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by the Tate Americas Foundation for the Tate Gallery, courtesy of The Easton Foundation 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFemme 2007 is a work in red gouache on paper that depicts an ostensibly female form. The figure is portrayed in outline only, her body visible down to the knee, with the lower legs and feet not pictured. The shape of her breasts, navel, vulva and upper thighs are each picked out in single brushstrokes. Her face has no features and her arms are obscured by brushstrokes emanating from the top of the head and continuing to the base of the painting, depicting the figure’s hair. The paint appears smudged in some areas, potentially where it has been mixed with water, reducing the vivid red of the gouache to shades of pink. The artist has included her initials (‘LB’) in black at the bottom right corner of the painting.\nBourgeois’s use of the colour red is a recurring characteristic of her artistic practice. The artist employed the colour often in her work in order to refer to the extremes of human emotion. In a statement first published in 1992, Bourgeois said: ‘Red is an affirmation at any cost – regardless of the dangers in fighting – of contradiction, of aggression. It’s symbolic of the intensity of the emotions involved.’ (Quoted in Askew and d’Offay 2013, p.85.) She went into more detail regarding her thoughts on the multiple connotations of the colour when she wrote:\n\n<blockquote>Red is the colour of blood. Red is the colour of paint. Red is the colour of violence. Red is the colour of danger. Red is the colour of shame. Red is the colour of jealousy. Red is the colour of grudges. Red is the colour of blame. (Quoted in Morris 2007, p.83.)</blockquote>\nThe colour red also appears in Bourgeois’s other works on paper such as À L’Infini 2008–9 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-a-linfini-al00357\" title=\"View the details of this artwork\">AL00357</a>) and 10 am is When You Come to Me 2006 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-10-am-is-when-you-come-to-me-al00345\" title=\"View the details of this artwork\">AL00345</a>), where it is again used to represent the extremes of human emotion. In Femme the colour may signify the sexuality of the female figure, the warmth of the human body or the blood that can be present at both birth and death.\nThe title of the work suggests that the figure is representative of womankind in general, which may explain why her face is without features that would make her recognisable. She is also reminiscent of the female figure in Bourgeois’s Nature Study 1986 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-nature-study-al00228\" title=\"View the details of this artwork\">AL00228</a>), who has little definition in her facial features and has long hair that ultimately forms the spiral from which a hand emerges to support her in a depiction of the cycle of motherhood, birth and rebirth. The figures in both Nature Study and Femme appear to have no arms, suggesting a degree of vulnerability. Again, this contrasting depiction of strength, sexuality and vulnerability may be intended to represent all women as opposed to an individual female.\n\nFurther reading\n Mignon Nixon, Fantastic Reality: Louise Bourgeois and a Story of Modern Art, Cambridge, Massachusetts and London 2005. Frances Morris (ed.), Louise Bourgeois, exhibition catalogue, Tate Modern, London 2007. Lucy Askew and Anthony d’Offay, Louise Bourgeois: A Woman Without Secrets, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, reproduced p.63.\nAllan Madden The University of Edinburgh December 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-05-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Aquatint, drypoint and engraving on paper, triptych

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3,324

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1,994

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

Triptych Red Room

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Tate Americas Foundation for the Tate Gallery, courtesy of The Easton Foundation 2013

AL00349

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7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149

Louise Bourgeois

1,994

[]

This work consists of three panels that each depict a pair of nude male and female figures whose bodies interact and contort in unusual poses. The left and right panels are mirrored compositionally, sharing a dark blue background, with the left panel depicting a female figure holding onto the waist of a writhing male and the right panel depicting a male figure holding a female. The male and female figures in the central panel are the only pair that are not in direct contact and, unlike the side panels, are presented against a light blue background. Only the torso and legs of the male figures in the central and right panels are visible. The bodies of each of the three female figures adopt similar positions, arched backwards and to the left. Each of the figures appears open-mouthed and wide-eyed. Their bodies are in part skeletal and their faces and sexual organs are rendered simplistically.

false

1

https://media.tate.org.u…AL/AL00349_8.jpg

2351

paper print aquatint drypoint engraving triptych

[ { "artistRoomsTour": true, "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "exhibitionLegs": [ { "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "id": 8484, "startDate": "2013-10-26", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 6952, "startDate": "2013-10-26", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "18 July 2014 – 12 October 2014", "endDate": "2014-10-12", "exhibitionLegs": [ { "dateText": "18 July 2014 – 12 October 2014", "endDate": "2014-10-12", "id": 9018, "startDate": "2014-07-18", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 7398, "startDate": "2014-07-18", "title": "ARTIST ROOMS 2014: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "exhibitionLegs": [ { "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "id": 13772, "startDate": "2021-07-06", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 11378, "startDate": "2021-07-06", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "23 July 2022 – 6 October 2024", "endDate": "2024-10-06", "exhibitionLegs": [ { "dateText": "23 July 2022 – 19 November 2022", "endDate": "2022-11-19", "id": 14959, "startDate": "2022-07-23", "venueName": "Rugby Art Gallery and Museum (Rugby, UK)", "venueWebsiteUrl": null }, { "dateText": "8 July 2023 – 9 September 2023", "endDate": "2023-09-09", "id": 15482, "startDate": "2023-07-08", "venueName": "Grundy Art Gallery (Blackpool, UK)", "venueWebsiteUrl": null }, { "dateText": "18 November 2023 – 11 February 2024", "endDate": "2024-02-11", "id": 15165, "startDate": "2023-11-18", "venueName": "Burton Art Gallery and Museum (Bideford, UK)", "venueWebsiteUrl": null }, { "dateText": "2 March 2024 – 9 June 2024", "endDate": "2024-06-09", "id": 15334, "startDate": "2024-03-02", "venueName": "Aberdeen Art Gallery (Aberdeen, UK)", "venueWebsiteUrl": "http://www.aagm.co.uk" }, { "dateText": "6 July 2024 – 6 October 2024", "endDate": "2024-10-06", "id": 15434, "startDate": "2024-07-06", "venueName": "Compton Verney (Compton Verney, UK)", "venueWebsiteUrl": null } ], "id": 12293, "startDate": "2022-07-23", "title": "Louise Bourgeois", "type": "Loan-out" } ]

Triptych for the Red Room

1,994

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Tate Americas Foundation for the Tate Gallery, courtesy of The Easton Foundation 2013 On long term loan

1994

CLEARED

4

Overall: 800 × 3115 × 38 mm frame each - centre panel: 800 × 1157 × 38 mm frame, each - left panel: 800 × 912 × 38 mm frame, each - right panel: 800 × 1046 × 38 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Tate Americas Foundation for the Tate Gallery, courtesy of The Easton Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by the Tate Americas Foundation for the Tate Gallery, courtesy of The Easton Foundation 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis work consists of three panels that each depict a pair of nude male and female figures whose bodies interact and contort in unusual poses. The left and right panels are mirrored compositionally, sharing a dark blue background, with the left panel depicting a female figure holding onto the waist of a writhing male and the right panel depicting a male figure holding a female. The male and female figures in the central panel are the only pair that are not in direct contact and, unlike the side panels, are presented against a light blue background. Only the torso and legs of the male figures in the central and right panels are visible. The bodies of each of the three female figures adopt similar positions, arched backwards and to the left. Each of the figures appears open-mouthed and wide-eyed. Their bodies are in part skeletal and their faces and sexual organs are rendered simplistically.\nThis triptych was created to accompany a pair of room installations titled The Red Rooms 1994 (reproduced in Morris 2007, pp.236–41), which are examples of what Bourgeois called her ‘cells’, created by combining salvaged architectural material, found objects and the artist’s own sculptural works. Curator Lucy Askew has noted that the term ‘cell’ has multiple connotations and ‘might suggest the spaces inhabited by monks as a site for prayer and contemplation, but it is also the place where criminals are imprisoned as well as the microscopic elements of the human body and biological matter’ (Askew and d’Offay 2013, p.32). The ambiguity of the cells has a bearing on Triptych for the Red Room, which can be understood to depict scenes of fear and pain or of sexual release. The format of the triptych also instils the work with pseudo-religious and ritualistic overtones.\nOne figure in each panel adopts an arc-shaped pose, which may serve as a visual shorthand for hysteria, a condition which fascinated Bourgeois. Hysteria was, historically, thought to solely effect women and to derive from problems in the uterus and became a subject of particular interest to psychoanalysts such as Sigmund Freud, forming the basis for some of his writing. The curator Marie-Laure Bernadac has noted that Bourgeois’s relationship with psychoanalysis was always ambiguous as she rejected much of Freudian theory while accepting the importance of the subconscious. Bernadac has also written that, countering traditional psychoanalytic theory, Bourgeois did not see hysteria as exclusively feminine, which is why male figures appear in works such as Arch of Hysteria 1993 (reproduced in Morris 2007, p.43) and in Triptych for the Red Rooms. Bernadac also argued that Bourgeois did not consider hysteria to be an entirely negative or painful experience, and cited Bourgeois herself, who remarked:\n\n<blockquote>Her arch – the mounting of tension and the release of tension – is sexual. It is a substitute for orgasm, with no access to sex. She creates her own world and is very happy. Nowhere is it written that a person in these states is suffering. She functions in a self-made cell, where the rules of unhappiness or stress are unknown to us. (Quoted in Morris 2007, p.158.) </blockquote>\nThe figures in Triptych for the Red Rooms resemble those in Francis Bacon’s Three Studies for Figures at the Base of a Crucifixion c.1944 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bacon-three-studies-for-figures-at-the-base-of-a-crucifixion-n06171\" title=\"View the details of this artwork\">N06171</a>) in that they arch and twist in similar ways, forming unusual shapes. They are also all depicted with their mouths agape, exposing their teeth either in pain or ecstasy. Curator Frances Morris has noted the similarities between Bourgeois and Bacon: ‘Both worked on the fringes of Surrealism but made highly distinctive bodies of work at a distance from the various avant-garde groupings we associate with modernist art history’ (Morris 2007, p.52). Bourgeois greatly admired the work of Bacon and was introduced to him by the critic and curator David Sylvester in 1951. Afterwards she described the event as ‘an encounter with the man that I have long believed to be one of the greatest painters of our time’ (quoted in Morris 2007, p.52). On the subject of his often contorted male figures, Bourgeois said: ‘He is a painter of terrific brutality. It is a violence that is inflicted on the other and on the self. Bacon was a masochist. He twisted his figures, which were mostly male, like a pretzel into a Möbius strip of attraction and repulsion’ (quoted in Morris 2007, p.53).\n\nFurther reading\n Mignon Nixon, Fantastic Reality: Louise Bourgeois and a Story of Modern Art, Cambridge, Massachusetts 2005. Frances Morris (ed.), Louise Bourgeois, exhibition catalogue, Tate Modern, London 2007. Lucy Askew and Anthony d’Offay, Louise Bourgeois: A Woman Without Secrets, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, pp.44, 83, reproduced pp.44–5.\nAllan Madden The University of Edinburgh November 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Fluorescent tubes and metal

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3,325

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1,987

<a href="https://www.tate.org.uk/art/artists/dan-flavin-1101" aria-label="More by Dan Flavin" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dan Flavin</a>

to Don Judd colorist 15

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

AL00350

{ "id": 3, "meta": { "type": "art.Classification" } }

7015863 7022659 7007567 1002551 7007568 7012149 2071932 1002924

Dan Flavin

1,987

[]

false

1

https://media.tate.org.u…L/AL00350_10.jpg

1101

installation fluorescent tubes metal

[ { "artistRoomsTour": false, "dateText": "29 March 2013 – 27 April 2014", "endDate": "2014-04-27", "exhibitionLegs": [ { "dateText": "29 March 2013 – 20 April 2014", "endDate": "2014-04-20", "id": 8086, "startDate": "2013-03-29", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 6633, "startDate": "2013-03-29", "title": "ARTIST ROOMS Dan Flavin", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "16 August 2014 – 15 November 2014", "endDate": "2014-11-15", "exhibitionLegs": [ { "dateText": "16 August 2014 – 15 November 2014", "endDate": "2014-11-15", "id": 8488, "startDate": "2014-08-16", "venueName": "Gracefield Arts Centre (Dumfries, UK)", "venueWebsiteUrl": "http://www.dumgal.gov.uk/gracefield" } ], "id": 6960, "startDate": "2014-08-16", "title": "ARTIST ROOMS 2014: Dan Flavin", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "23 May 2015 – 27 September 2015", "endDate": "2015-09-27", "exhibitionLegs": [ { "dateText": "23 May 2015 – 27 September 2015", "endDate": "2015-09-27", "id": 9514, "startDate": "2015-05-23", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 7807, "startDate": "2015-05-23", "title": "Images moving out onto space", "type": "Exhibition" } ]

untitled (to Don Judd, colorist) 1-5

1,987

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 On long term loan

1987

CLEARED

3

object, each: 1220 × 1220 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

[]

null

false

artwork

Cool white fluorescent light

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3,326

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1,969

<a href="https://www.tate.org.uk/art/artists/dan-flavin-1101" aria-label="More by Dan Flavin" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dan Flavin</a>

monument V Tatlin

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Estate of Dan Flavin 2013

AL00351

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430

7015863 7022659 7007567 1002551 7007568 7012149 2071932 1002924

Dan Flavin

1,969

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https://media.tate.org.u…L/AL00351_10.jpg

1101

installation cool white fluorescent light

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“monument” for V. Tatlin

1,969

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Estate of Dan Flavin 2013 On long term loan

1969–70

CLEARED

3

2440 × 705 × 125 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Estate of Dan Flavin 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by the Estate of Dan Flavin 2013

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null

false

34065 226 12083 110 185 6749 33632

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artwork

Cool white fluorescent light

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3,327

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1,964

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monument V Tatlin

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Estate of Dan Flavin 2013

AL00352

{ "id": 3, "meta": { "type": "art.Classification" } }

430

7015863 7022659 7007567 1002551 7007568 7012149 2071932 1002924

Dan Flavin

1,964

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false

1

https://media.tate.org.u…L/AL00352_10.jpg

1101

installation cool white fluorescent light

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“monument” for V. Tatlin

1,964

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Estate of Dan Flavin 2013 On long term loan

1964

CLEARED

3

2440 × 740 × 125 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Estate of Dan Flavin 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by the Estate of Dan Flavin 2013

[]

[ "abstraction", "emotions, concepts and ideas", "formal qualities", "geometric", "light", "mythical, religious, fictional", "named individuals", "non-representational", "people", "places", "symmetry", "‘Tatlin’s Tower’, Monument to the Third International", "Tatlin, Vladimir" ]

null

false

34065 226 12083 110 185 6749 33632

false

artwork

Bronze, dark and polished patina, wall piece

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3,328

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,995

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

Spider I

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

AL00353

{ "id": 8, "meta": { "type": "art.Classification" } }

7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149

Louise Bourgeois

1,995

[]

During the 1990s Bourgeois made a number of spider sculptures. She associated the spider with her mother who spent her days weaving and stitching as she repaired antique tapestries for the family business. Bourgeois explained, ‘I came from a family of repairers. The spider is a repairer. If you bash into the web of a spider, she doesn’t get mad. She weaves and she repairs it.’Gallery label, October 2016

false

1

https://media.tate.org.u…AL/AL00353_8.jpg

2351

sculpture bronze dark polished patina wall piece

[ { "artistRoomsTour": true, "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "exhibitionLegs": [ { "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "id": 8484, "startDate": "2013-10-26", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 6952, "startDate": "2013-10-26", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "18 July 2014 – 12 October 2014", "endDate": "2014-10-12", "exhibitionLegs": [ { "dateText": "18 July 2014 – 12 October 2014", "endDate": "2014-10-12", "id": 9018, "startDate": "2014-07-18", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 7398, "startDate": "2014-07-18", "title": "ARTIST ROOMS 2014: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "16 January 2015 – 19 April 2015", "endDate": "2015-04-19", "exhibitionLegs": [ { "dateText": "16 January 2015 – 19 April 2015", "endDate": "2015-04-19", "id": 9442, "startDate": "2015-01-16", "venueName": "Southampton City Art Gallery (Southampton, UK)", "venueWebsiteUrl": "http://www.southampton.gov.uk/leisure/arts" } ], "id": 7750, "startDate": "2015-01-16", "title": "ARTIST ROOMS 2015: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 18 June 2017", "endDate": "2017-06-18", "exhibitionLegs": [ { "dateText": "10 June 2016 – 18 June 2017", "endDate": "2017-06-18", "id": 10421, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8598, "startDate": "2016-06-10", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "1 September 2017 – 18 November 2017", "endDate": "2017-11-18", "exhibitionLegs": [ { "dateText": "1 September 2017 – 18 November 2017", "endDate": "2017-11-18", "id": 11476, "startDate": "2017-09-01", "venueName": "Perth Museum & Art Gallery (Perth, UK)", "venueWebsiteUrl": "http://www.pkc.gov.uk/" } ], "id": 9486, "startDate": "2017-09-01", "title": "ARTIST ROOMS 2017: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "22 January 2019 – 24 March 2019", "endDate": "2019-03-24", "exhibitionLegs": [ { "dateText": "22 January 2019 – 31 March 2019", "endDate": "2019-03-31", "id": 12712, "startDate": "2019-01-22", "venueName": "Kettle’s Yard (Cambridge, UK)", "venueWebsiteUrl": "http://www.kettlesyard.co.uk/" } ], "id": 10486, "startDate": "2019-01-22", "title": "ARTIST ROOMS 2019: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "exhibitionLegs": [ { "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "id": 13772, "startDate": "2021-07-06", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 11378, "startDate": "2021-07-06", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "23 July 2022 – 6 October 2024", "endDate": "2024-10-06", "exhibitionLegs": [ { "dateText": "23 July 2022 – 19 November 2022", "endDate": "2022-11-19", "id": 14959, "startDate": "2022-07-23", "venueName": "Rugby Art Gallery and Museum (Rugby, UK)", "venueWebsiteUrl": null }, { "dateText": "18 March 2023 – 26 June 2023", "endDate": "2023-06-26", "id": 15163, "startDate": "2023-03-18", "venueName": "Dorset Museum (Dorchester, UK)", "venueWebsiteUrl": null }, { "dateText": "8 July 2023 – 9 September 2023", "endDate": "2023-09-09", "id": 15482, "startDate": "2023-07-08", "venueName": "Grundy Art Gallery (Blackpool, UK)", "venueWebsiteUrl": null }, { "dateText": "18 November 2023 – 11 February 2024", "endDate": "2024-02-11", "id": 15165, "startDate": "2023-11-18", "venueName": "Burton Art Gallery and Museum (Bideford, UK)", "venueWebsiteUrl": null }, { "dateText": "2 March 2024 – 9 June 2024", "endDate": "2024-06-09", "id": 15334, "startDate": "2024-03-02", "venueName": "Aberdeen Art Gallery (Aberdeen, UK)", "venueWebsiteUrl": "http://www.aagm.co.uk" }, { "dateText": "6 July 2024 – 6 October 2024", "endDate": "2024-10-06", "id": 15434, "startDate": "2024-07-06", "venueName": "Compton Verney (Compton Verney, UK)", "venueWebsiteUrl": null } ], "id": 12293, "startDate": "2022-07-23", "title": "Louise Bourgeois", "type": "Loan-out" } ]

Spider I

1,995

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013 On long term loan

1995

CLEARED

8

object: 304 × 1005 × 1215 mm, 36 kg

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSpider I is a bronze wall-mounted sculpture with a polished black patina made in 1995 by the French-born American artist Louise Bourgeois. Taking the form of a large spider crawling up a wall, Spider I is fastened to the surface with two bolts that are secured through rings situated on the sculpture’s front legs. Spider I was produced in an edition of six plus one artist’s proof.\nIn 1995, the year that she made Spider I, Bourgeois published the poem ‘Ode to my Mother’ (‘Ode à ma mère’) alongside a suite of nine etchings depicting spiders that were published by Editions du Solstice, Paris. In the poem the artist relates the spider to a maternal figure, her own mother in particular, who was a weaver and the manager of the family’s antique tapestry restoration business:\n\n<blockquote>The friend (the spider – why the spider?) because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and useful as an araignée. She could also defend herself, and me, by refusing to answer ‘stupid’, inquisitive, embarrassing personal questions. I shall never tire of representing her. I want to: eat, sleep, argue, hurt, destroy Why do you? My reasons belong exclusively to me. The treatment of Fear. (Quoted in Tate Modern 2000, p.62.)</blockquote>\nThe spider is a recurring motif in Bourgeois’s oeuvre. She first depicted it in a small ink and charcoal drawing of 1947 that was also entitled Spider, but the subject began to appear more frequently in her sculptures, drawings and prints in the mid-1990s, and she remained interested in the theme until late in life. The artist made sculptures of arachnids ranging in size from a small brooch to monumental outdoor works measuring over ten metres high. One of Bourgeois’s largest spider sculptures is the iconic Maman (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-maman-t12625\" title=\"View the details of this artwork\">T12625</a>), made of steel and marble in 1999 as part of her Turbine Hall commission for the opening of Tate Modern in London in May 2000. Other versions include Spider 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-spider-al00354\" title=\"View the details of this artwork\">AL00354</a>).\n\nFurther reading\n \nLouise Bourgeois, exhibition catalogue, Tate Modern, London 2000. \nLouise Bourgeois: Maman, exhibition catalogue, Wanås Foundation and Atlantis, Stockholm 2007. Ann Coxon, Louise Bourgeois, London 2010.\nNatasha Adamou May 2016\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nDuring the 1990s Bourgeois made a number of spider sculptures. She associated the spider with her mother who spent her days weaving and stitching as she repaired antique tapestries for the family business. Bourgeois explained, ‘I came from a family of repairers. The spider is a repairer. If you bash into the web of a spider, she doesn’t get mad. She weaves and she repairs it.’\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

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artwork

Bronze, silver nitrate and brown patina, and granite

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3,329

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1,994

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

Spider

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

AL00354

{ "id": 8, "meta": { "type": "art.Classification" } }

7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149

Louise Bourgeois

1,994

[]

This large-scale bronze spider carries a granite egg in her sack, revealing Bourgeois’s interest in the creature as an image of the strong mother: protector, creator and repairer. In 1995 Bourgeois wrote a poem about her mother, who died when the artist was young. She compares her to a spider, ‘because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and useful as an araignée [spider]. She could also defend herself, and me…’Gallery label, October 2016

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1

https://media.tate.org.u…AL/AL00354_8.jpg

2351

sculpture bronze silver nitrate brown patina granite

[ { "artistRoomsTour": true, "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "exhibitionLegs": [ { "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "id": 8484, "startDate": "2013-10-26", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 6952, "startDate": "2013-10-26", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "18 July 2014 – 12 October 2014", "endDate": "2014-10-12", "exhibitionLegs": [ { "dateText": "18 July 2014 – 12 October 2014", "endDate": "2014-10-12", "id": 9018, "startDate": "2014-07-18", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 7398, "startDate": "2014-07-18", "title": "ARTIST ROOMS 2014: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "16 January 2015 – 19 April 2015", "endDate": "2015-04-19", "exhibitionLegs": [ { "dateText": "16 January 2015 – 19 April 2015", "endDate": "2015-04-19", "id": 9442, "startDate": "2015-01-16", "venueName": "Southampton City Art Gallery (Southampton, UK)", "venueWebsiteUrl": "http://www.southampton.gov.uk/leisure/arts" } ], "id": 7750, "startDate": "2015-01-16", "title": "ARTIST ROOMS 2015: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 18 June 2017", "endDate": "2017-06-18", "exhibitionLegs": [ { "dateText": "10 June 2016 – 18 June 2017", "endDate": "2017-06-18", "id": 10421, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8598, "startDate": "2016-06-10", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "1 September 2017 – 18 November 2017", "endDate": "2017-11-18", "exhibitionLegs": [ { "dateText": "1 September 2017 – 18 November 2017", "endDate": "2017-11-18", "id": 11476, "startDate": "2017-09-01", "venueName": "Perth Museum & Art Gallery (Perth, UK)", "venueWebsiteUrl": "http://www.pkc.gov.uk/" } ], "id": 9486, "startDate": "2017-09-01", "title": "ARTIST ROOMS 2017: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "23 July 2022 – 6 October 2024", "endDate": "2024-10-06", "exhibitionLegs": [ { "dateText": "8 July 2023 – 9 September 2023", "endDate": "2023-09-09", "id": 15482, "startDate": "2023-07-08", "venueName": "Grundy Art Gallery (Blackpool, UK)", "venueWebsiteUrl": null }, { "dateText": "2 March 2024 – 9 June 2024", "endDate": "2024-06-09", "id": 15334, "startDate": "2024-03-02", "venueName": "Aberdeen Art Gallery (Aberdeen, UK)", "venueWebsiteUrl": "http://www.aagm.co.uk" } ], "id": 12293, "startDate": "2022-07-23", "title": "Louise Bourgeois", "type": "Loan-out" } ]

Spider

1,994

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013 On long term loan

1994

CLEARED

8

object: 2743 × 4572 × 3785 mm, 256kg

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Easton Foundation 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSpider is a giant sculpture of an arachnid that stands on the floor. The artwork is made of bronze and granite and was created in 1994 by the French-born American artist Louise Bourgeois. One of the first of many sculptures of spiders made by the artist, Spider measures 2743 x 4572 x 3785 mm, such that it is large enough to occupy the entire space of a room. The body of the spider supports a rounded cage-like structure inside which is held a large white egg. The cage hangs below a cylindrical form, to which are attached eight thin legs stretching out to the floor. Each of the legs is articulated in three sections made of straight rods of bronze, with the exception of one of the legs, where the two sections are bent, creating a semi-circle. The lower parts of seven of the legs end in needle points where the sculpture meets the floor, while the eighth terminates in a small coil. The angularity of the thin legs and their different heights give the impression that the spider is crawling.\nIn 1995, the year after she made this version of Spider, Bourgeois published the poem ‘Ode to my Mother’ (‘Ode à ma mère’) alongside a suite of nine etchings depicting spiders that were published by Editions du Solstice, Paris. In the poem the artist relates the spider to a maternal figure, her own mother in particular, who was a weaver and the manager of the family’s antique tapestry restoration business:\n\n<blockquote>The friend (the spider – why the spider?) because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and useful as an araignée. She could also defend herself, and me, by refusing to answer ‘stupid’, inquisitive, embarrassing personal questions. I shall never tire of representing her. I want to: eat, sleep, argue, hurt, destroy Why do you? My reasons belong exclusively to me. The treatment of Fear. (Quoted in Tate Modern 2000, p.62.)</blockquote>\nThe spider is a recurring motif in Bourgeois’s oeuvre. She first depicted it in a small ink and charcoal drawing of 1947 that was also entitled Spider, but the subject began to appear more frequently in her sculptures, drawings and prints in the mid-1990s, and she remained interested in the theme until late in life. The artist made sculptures of arachnids ranging in size from a small brooch to monumental outdoor works measuring over ten metres high. One of Bourgeois’s largest spider sculptures is the iconic Maman (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-maman-t12625\" title=\"View the details of this artwork\">T12625</a>), made of steel and marble in 1999 as part of her Turbine Hall commission for the opening of Tate Modern in London in May 2000. Other versions include Spider I 1995 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-spider-i-al00353\" title=\"View the details of this artwork\">AL00353</a>).\n\nFurther reading\n \nLouise Bourgeois, exhibition catalogue, Tate Modern, London 2000. \nLouise Bourgeois: Maman, exhibition catalogue, Wanås Foundation and Atlantis, Stockholm 2007, reproduced p.79. Ann Coxon, Louise Bourgeois, London 2010.\nNatasha Adamou May 2016\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis large-scale bronze spider carries a granite egg in her sack, revealing Bourgeois’s interest in the creature as an image of the strong mother: protector, creator and repairer. In 1995 Bourgeois wrote a poem about her mother, who died when the artist was young. She compares her to a spider, ‘because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and useful as an araignée [spider]. She could also defend herself, and me…’\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Bronze, black patina

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3,330

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1,981

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

Fallen Woman

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

AL00356

{ "id": 8, "meta": { "type": "art.Classification" } }

7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149

Louise Bourgeois

1,981

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https://media.tate.org.u…AL/AL00356_8.jpg

2351

sculpture bronze black patina

[ { "artistRoomsTour": true, "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "exhibitionLegs": [ { "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "id": 8484, "startDate": "2013-10-26", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 6952, "startDate": "2013-10-26", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "18 July 2014 – 12 October 2014", "endDate": "2014-10-12", "exhibitionLegs": [ { "dateText": "18 July 2014 – 12 October 2014", "endDate": "2014-10-12", "id": 9018, "startDate": "2014-07-18", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 7398, "startDate": "2014-07-18", "title": "ARTIST ROOMS 2014: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "16 January 2015 – 19 April 2015", "endDate": "2015-04-19", "exhibitionLegs": [ { "dateText": "16 January 2015 – 19 April 2015", "endDate": "2015-04-19", "id": 9442, "startDate": "2015-01-16", "venueName": "Southampton City Art Gallery (Southampton, UK)", "venueWebsiteUrl": "http://www.southampton.gov.uk/leisure/arts" } ], "id": 7750, "startDate": "2015-01-16", "title": "ARTIST ROOMS 2015: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 18 June 2017", "endDate": "2017-06-18", "exhibitionLegs": [ { "dateText": "10 June 2016 – 18 June 2017", "endDate": "2017-06-18", "id": 10421, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8598, "startDate": "2016-06-10", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "1 September 2017 – 18 November 2017", "endDate": "2017-11-18", "exhibitionLegs": [ { "dateText": "1 September 2017 – 18 November 2017", "endDate": "2017-11-18", "id": 11476, "startDate": "2017-09-01", "venueName": "Perth Museum & Art Gallery (Perth, UK)", "venueWebsiteUrl": "http://www.pkc.gov.uk/" } ], "id": 9486, "startDate": "2017-09-01", "title": "ARTIST ROOMS 2017: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "exhibitionLegs": [ { "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "id": 13772, "startDate": "2021-07-06", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 11378, "startDate": "2021-07-06", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "23 July 2022 – 6 October 2024", "endDate": "2024-10-06", "exhibitionLegs": [ { "dateText": "23 July 2022 – 19 November 2022", "endDate": "2022-11-19", "id": 14959, "startDate": "2022-07-23", "venueName": "Rugby Art Gallery and Museum (Rugby, UK)", "venueWebsiteUrl": null }, { "dateText": "18 March 2023 – 26 June 2023", "endDate": "2023-06-26", "id": 15163, "startDate": "2023-03-18", "venueName": "Dorset Museum (Dorchester, UK)", "venueWebsiteUrl": null }, { "dateText": "8 July 2023 – 9 September 2023", "endDate": "2023-09-09", "id": 15482, "startDate": "2023-07-08", "venueName": "Grundy Art Gallery (Blackpool, UK)", "venueWebsiteUrl": null }, { "dateText": "18 November 2023 – 11 February 2024", "endDate": "2024-02-11", "id": 15165, "startDate": "2023-11-18", "venueName": "Burton Art Gallery and Museum (Bideford, UK)", "venueWebsiteUrl": null }, { "dateText": "2 March 2024 – 9 June 2024", "endDate": "2024-06-09", "id": 15334, "startDate": "2024-03-02", "venueName": "Aberdeen Art Gallery (Aberdeen, UK)", "venueWebsiteUrl": "http://www.aagm.co.uk" }, { "dateText": "6 July 2024 – 6 October 2024", "endDate": "2024-10-06", "id": 15434, "startDate": "2024-07-06", "venueName": "Compton Verney (Compton Verney, UK)", "venueWebsiteUrl": null } ], "id": 12293, "startDate": "2022-07-23", "title": "Louise Bourgeois", "type": "Loan-out" } ]

Fallen Woman

1,981

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 On long term loan

1981

CLEARED

8

object: 343 × 97 × 89 mm, 3 kg

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

[]

null

false

artwork

16 etchings with watercolour, gouache, graphite, coloured pencil and ink on paper

[ { "append_role_to_name": false, "date": "1911–2010", "fc": "Louise Bourgeois", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/louise-bourgeois-2351" } ]

3,331

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2,008

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

À LInfini

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

AL00357

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Louise Bourgeois

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[]

The title of this large scale, multi-part drawing translates as ‘into infinity’ or ‘ad infinitum’. Each sheet contains the image of ribbons that weave around each other and flow diagonally across the page. Suggestive of blood-filled arteries, umbilical cords, rivers, threads or tubes, the drawings remind us of the basic elements of life and its complex journey through time.Gallery label, October 2016

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1

https://media.tate.org.u…AL/AL00357_8.jpg

2351

paper unique 16 etchings watercolour gouache graphite coloured pencil ink

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À L’Infini

2,008

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013 On long term loan

2008–9

CLEARED

5

image, each: 1016 × 1524 mm frame, each: 1190 × 1698 × 70 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nÀ L’Infini is a series of sixteen large works on paper, framed and arranged in grid. Each sheet has the same printed image of two intersecting tube-like lines as a base, which Bourgeois added to with pencil and gouache washes. On some sheets there are traces of words written in pencil. On other sheets there are depictions of the female body, couples, childbirth, disembodied limbs and body parts, among other elements like coils, spirals, tubes and flower buds. These elements merge and intersect with the spiralling lines snaking across the paper on a diagonal. The lines and shapes are coloured various shades of red, pink and white. It was completed between 2008 and 2009 when the artist was 97 years of age, with the assistance of her longtime assistant, friend and collaborator Jerry Gorovoy. Curator Lucy Askew has argued that this work reflects the themes and concerns that the artist explored throughout her long career (Askew and d’Offay 2013, p.36).\nThe French title of the work, ‘À L’Infini’, translated as ‘into infinity’, is suggestive of both an unmapped expanse and a life cycle. This idea is borne out by the evocation of bodily forms across the series, which range from full figures to body parts as well as more abstract shapes and textures evocative of internal organs. The diagonal lines crossing each sheet are reminiscent of veins or arteries and splotches of red and pink paint could be read as drips and splashes of blood. In this way the work might seem to suggest the fallibility of the body, with the infinity of the title referring to an experience after death. On the other hand, it might imply the continuation of life through family and reproduction as well as the artist’s body of work. Askew has also read the spirals of À L’Infini as symbolic of veins, umbilical cords and even of the double helix structure of DNA, the substance of which life is made. She writes:\n\n<blockquote>Bourgeois’s drawings in pencil and red paint expand and reconfigure the printed lines which recede against a dance of knots and spirals, blood-filled arteries and veins, umbilical cords, meandering rivers, threads and tubes, notations and indistinct texts, floating figures and bulbous, anatomical shapes. (Askew and d’Offay 2013, p.24.)</blockquote>\nThe artist’s use of red in À L’Infini is characteristic of her work on paper. Bourgeois stated: ‘Red is an affirmation at any cost – regardless of the dangers in fighting – of contradiction, of aggression. It’s symbolic of the intensity of the emotions involved.’ (Quoted in Askew and d’Offay 2013, p.85.) The colour appeals to the motifs connecting the different sheets in the series, which look like veins and arteries in the body or the blood lines of a family.\nThe spiralling line is a symbol that features prominently in Bourgeois’s work, especially as a means to represent reproduction. In her sculpture Nature Study 1986 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-nature-study-al00228\" title=\"View the details of this artwork\">AL00228</a>) a hand also appears from within a spiral to cradle a female figure, representing the cyclical nature of motherhood and childbirth. This same, cyclical relationship is apparent in À L’Infini, with its depictions of the female figure hanging in space, a male and female couple embracing and infant figures suspended in womb-like sacks. Despite representing different stages in a life cycle, the work does not follow a straightforward narrative. Instead episodes cross over, intersect and are repeated and perspectives shift from bodies and limbs to microscopic shapes and textures. In this way À L’Infini combines the monumental with the everyday, presenting an intimate view in large scale.\n\nFurther reading\n Paul Gardner, Louise Bourgeois, New York 1994. Mignon Nixon, Fantastic Reality: Louise Bourgeois and a Story of Modern Art, Cambridge, Massachusetts, and London 2005. Lucy Askew and Anthony d’Offay, Louise Bourgeois: A Woman without Secrets, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, pp.76–95, reproduced pp.28–9, 68–9, 77, 95.\nAllan Madden The University of Edinburgh January 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThe title of this large scale, multi-part drawing translates as ‘into infinity’ or ‘ad infinitum’. Each sheet contains the image of ribbons that weave around each other and flow diagonally across the page. Suggestive of blood-filled arteries, umbilical cords, rivers, threads or tubes, the drawings remind us of the basic elements of life and its complex journey through time.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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null

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artwork

Photograph, gelatin silver print on paper

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3,332

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Pictures Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

AL00359

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,977

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https://media.tate.org.u…L/AL00359_10.jpg

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paper print photograph gelatin silver

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Pictures / Self Portrait

1,977

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014 On long term loan

1977

CLEARED

4

image: 351 × 347 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

[]

[ "adults", "body", "bracelet", "clothing and personal items", "dress: fantasy/fancy", "emotions, concepts and ideas", "erotic", "fancy dress / role play", "formal qualities", "glove", "hand", "inscriptions", "leisure and pastimes", "man", "Mapplethorpe, Robert", "named individuals", "objects", "paper", "pen", "people", "photographic", "portraits", "reading, writing, printed matter", "recreational activities", "self-portraits", "society", "symbols and personifications", "word", "writing" ]

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artwork

Photograph, gelatin silver print on paper

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1,977

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Pictures Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

AL00360

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

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false

1

https://media.tate.org.u…L/AL00360_10.jpg

11413

paper print photograph gelatin silver

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Pictures / Self Portrait

1,977

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014 On long term loan

1977

CLEARED

4

image: 352 × 346 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

[]

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null

false

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false

artwork

Photograph, gelatin silver print on paper

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3,334

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1,980

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Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

AL00361

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,980

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paper print photograph gelatin silver

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Self Portrait

1,980

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014 On long term loan

1980, printed 1999

CLEARED

4

image: 352 × 352 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

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false

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3,335

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Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

AL00362

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,982

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false

1

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11413

paper print photograph gelatin silver

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Self Portrait

1,982

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014 On long term loan

1982, printed 1991

CLEARED

4

image: 388 × 384 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

[]

null

false

artwork

Photograph, gelatin silver print on paper

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3,336

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1,983

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Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

AL00363

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,983

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false

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https://media.tate.org.u…L/AL00363_10.jpg

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Self Portrait

1,983

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014 On long term loan

1983, printed 2005

CLEARED

4

image: 382 × 380 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

[]

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null

false

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false

artwork

Photograph, gelatin silver print on paper

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3,337

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1,985

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Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

AL00364

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,985

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false

1

https://media.tate.org.u…L/AL00364_10.jpg

11413

paper print photograph gelatin silver

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Self Portrait

1,985

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014 On long term loan

1985

CLEARED

4

image: 384 × 386 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

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false

1800 63 64 8482 153 6460 4001 195 17643 9328 20114 20116

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artwork

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3,338

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1,984

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White Gauze

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

AL00365

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,984

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false

1

https://media.tate.org.u…AL/AL00365_9.jpg

11413

paper print photograph gelatin silver

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White Gauze

1,984

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014 On long term loan

1984, printed 2006

CLEARED

4

image: 382 × 380 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

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artwork

Photograph, gelatin silver print on paper

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Tarantula

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

AL00366

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

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https://media.tate.org.u…AL/AL00366_9.jpg

11413

paper print photograph gelatin silver

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Tarantula

1,988

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014 On long term loan

1988, printed 2005

CLEARED

4

image: 488 × 482 mm frame: 745 × 620 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2014

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artwork

Lithograph, screenprint, woodcut on paper and metalised pvc on paper

[ { "append_role_to_name": false, "date": "1923–1997", "fc": "Roy Lichtenstein", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" } ]

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Reflections on Conversation

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ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00367

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Roy Lichtenstein

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Reflections on Conversation 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Crash 1990 (Tate AL00368), Reflections on Girl 1990 (Tate AL00369), Reflections on Minerva 1990 (Tate AL00370) and Reflections on The Scream 1990 (Tate AL00371). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

false

1

https://media.tate.org.u…L/AL00367_10.jpg

1508

paper print lithograph screenprint woodcut metalised pvc

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Reflections on Conversation

1,990

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1990

CLEARED

4

object: 1365 × 1699 mm frame: 1523 × 1857 × 65 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nReflections on Conversation 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\">Reflections on Hair</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\" title=\"View the details of this artwork\">P12127</a>), <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\">Reflections on Brushstrokes</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\" title=\"View the details of this artwork\">P12128</a>), Reflections on Crash 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-crash-al00368\" title=\"View the details of this artwork\">AL00368</a>), Reflections on Girl 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-girl-al00369\" title=\"View the details of this artwork\">AL00369</a>), Reflections on Minerva 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-minerva-al00370\" title=\"View the details of this artwork\">AL00370</a>) and Reflections on The Scream 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-the-scream-al00371\" title=\"View the details of this artwork\">AL00371</a>). In all the Reflection prints, the image is partly obscured by semi-<a data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art\" title=\"Glossary definition for 'Abstract art'\">abstract</a> blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained: \n\n<blockquote>It started when I tried to photograph a print by Robert Rauschenberg that was under glass. But the light from a window reflected on the surface of the glass and prevented me from taking a good picture. But it gave me the idea of photographing fairly well-known works under glass, where the reflection would hide most of the work, but you could still make out what the subject was. Well, I tried to do a few photographs in this manner; but I am not much of a photographer. Later the idea occurred to me to do the same idea in painting; and I started this series on various early works of mine … It portrays a painting under glass. It is framed and the glass is preventing you from seeing the painting. Of course the reflections are just an excuse to make an abstract work, with the cartoon image being supposedly partly hidden by the reflections. </blockquote>\n<blockquote>(Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.69.)</blockquote>\nIn making the screenprints in the Reflections series, Lichtenstein appropriated imagery from his past works, and particularly from comic book sources, returning to subject matter he had addressed in the 1960s. Lichtenstein’s approach in these reflection works can therefore be read as a witty comment on the techniques of pop artists who themselves quoted and reused imagery found in popular culture, and perhaps an acknowledgement that his own work had entered into popularised visual culture. The idea of reflection in these works also has a precedent in earlier works by Lichtenstein in which mirrors and reflections on glass play a key part, for example, in works derived from comic strips such as In the Car 1963 (Scottish National Gallery of Modern Art, Edinburgh, GMA 2133). \nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1993, New York and Washington D.C. 1994. Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Reflections on Crash

null

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ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00368

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437

7007567 1002551 7007568 7012149 7022657

Roy Lichtenstein

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Reflections on Crash 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Conversation 1990 (Tate AL00367), Reflections on Girl 1990 (Tate AL00369), Reflections on Minerva 1990 (Tate AL00370) and Reflections on The Scream 1990 (Tate AL00371). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

false

1

https://media.tate.org.u…L/AL00368_10.jpg

1508

paper print lithograph screenprint metalised pvc paper

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Reflections on Crash

1,990

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1990

CLEARED

4

object: 1502 × 1905 mm frame: 1668 × 2065 × 65 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nReflections on Crash 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\">Reflections on Hair</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\" title=\"View the details of this artwork\">P12127</a>), <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\">Reflections on Brushstrokes</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\" title=\"View the details of this artwork\">P12128</a>), Reflections on Conversation 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-conversation-al00367\" title=\"View the details of this artwork\">AL00367</a>), Reflections on Girl 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-girl-al00369\" title=\"View the details of this artwork\">AL00369</a>), Reflections on Minerva 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-minerva-al00370\" title=\"View the details of this artwork\">AL00370</a>) and Reflections on The Scream 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-the-scream-al00371\" title=\"View the details of this artwork\">AL00371</a>). In all the Reflection prints, the image is partly obscured by semi-<a data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art\" title=\"Glossary definition for 'Abstract art'\">abstract</a> blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained: \n\n<blockquote>It started when I tried to photograph a print by Robert Rauschenberg that was under glass. But the light from a window reflected on the surface of the glass and prevented me from taking a good picture. But it gave me the idea of photographing fairly well-known works under glass, where the reflection would hide most of the work, but you could still make out what the subject was. Well, I tried to do a few photographs in this manner; but I am not much of a photographer. Later the idea occurred to me to do the same idea in painting; and I started this series on various early works of mine … It portrays a painting under glass. It is framed and the glass is preventing you from seeing the painting. Of course the reflections are just an excuse to make an abstract work, with the cartoon image being supposedly partly hidden by the reflections. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.69.)</blockquote>\nIn making the screenprints in the Reflections series, Lichtenstein appropriated imagery from his past works, and particularly from comic book sources, returning to subject matter he had addressed in the 1960s. Lichtenstein’s approach in these reflection works can therefore be read as a witty comment on the techniques of pop artists who themselves quoted and reused imagery found in popular culture, and perhaps an acknowledgement that his own work had entered into popularised visual culture. The idea of reflection in these works also has a precedent in earlier works by Lichtenstein in which mirrors and reflections on glass play a key part, for example, in works derived from comic strips such as In the Car 1963 (Scottish National Gallery of Modern Art, Edinburgh, GMA 2133). \nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1993, New York and Washington D.C. 1994. Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "adults", "air crash", "astronomy", "Ben-Day dots", "body", "cartoon / comic strip", "emotions, concepts and ideas", "formal qualities", "head / face", "inscriptions", "man", "people", "rocket", "society", "space", "speech bubble", "symbols and personifications", "transport: air", "word" ]

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artwork

Lithograph, screenprint on paper and metalised pvc on paper

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1,990

<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Reflections on Girl

null

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ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00369

{ "id": 4, "meta": { "type": "art.Classification" } }

437

7007567 1002551 7007568 7012149 7022657

Roy Lichtenstein

1,990

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Reflections on Girl 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Crash 1990 (Tate AL00368), Reflections on Conversation 1990 (Tate AL00367), Reflections on Minerva 1990 (Tate AL00370) and Reflections on The Scream 1990 (Tate AL00371). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

false

1

https://media.tate.org.u…L/AL00369_10.jpg

1508

paper print lithograph screenprint metalised pvc paper

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Reflections on Girl

1,990

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1990

CLEARED

4

object: 1146 × 1391 mm frame: 1302 × 1552 × 65 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nReflections on Girl 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\">Reflections on Hair</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\" title=\"View the details of this artwork\">P12127</a>), <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\">Reflections on Brushstrokes</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\" title=\"View the details of this artwork\">P12128</a>), Reflections on Crash 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-crash-al00368\" title=\"View the details of this artwork\">AL00368</a>), Reflections on Conversation 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-conversation-al00367\" title=\"View the details of this artwork\">AL00367</a>), Reflections on Minerva 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-minerva-al00370\" title=\"View the details of this artwork\">AL00370</a>) and Reflections on The Scream 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-the-scream-al00371\" title=\"View the details of this artwork\">AL00371</a>). In all the Reflection prints, the image is partly obscured by semi-<a data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art\" title=\"Glossary definition for 'Abstract art'\">abstract</a> blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained: \n\n<blockquote>It started when I tried to photograph a print by Robert Rauschenberg that was under glass. But the light from a window reflected on the surface of the glass and prevented me from taking a good picture. But it gave me the idea of photographing fairly well-known works under glass, where the reflection would hide most of the work, but you could still make out what the subject was. Well, I tried to do a few photographs in this manner; but I am not much of a photographer. Later the idea occurred to me to do the same idea in painting; and I started this series on various early works of mine … It portrays a painting under glass. It is framed and the glass is preventing you from seeing the painting. Of course the reflections are just an excuse to make an abstract work, with the cartoon image being supposedly partly hidden by the reflections. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.69.)</blockquote>\nIn making the screenprints in the Reflections series, Lichtenstein appropriated imagery from his past works, and particularly from comic book sources, returning to subject matter he had addressed in the 1960s. Lichtenstein’s approach in these reflection works can therefore be read as a witty comment on the techniques of pop artists who themselves quoted and reused imagery found in popular culture, and perhaps an acknowledgement that his own work had entered into popularised visual culture. The idea of reflection in these works also has a precedent in earlier works by Lichtenstein in which mirrors and reflections on glass play a key part, for example, in works derived from comic strips such as In the Car 1963 (Scottish National Gallery of Modern Art, Edinburgh, GMA 2133). \nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1993, New York and Washington D.C. 1994. Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Reflections on Minerva

null

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ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00370

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437

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Roy Lichtenstein

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Reflections on Minerva 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Crash 1990 (Tate AL00368), Reflections on Girl 1990 (Tate AL00369), Reflections on Conversation 1990 (Tate AL00367) and Reflections on The Scream 1990 (Tate AL00371). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

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paper print lithograph screenprint metalised pvc

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Reflections on Minerva

1,990

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1990

CLEARED

4

object: 1067 × 1314 mm frame: 1222 × 1470 × 65 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nReflections on Minerva 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\">Reflections on Hair</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\" title=\"View the details of this artwork\">P12127</a>), <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\">Reflections on Brushstrokes</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\" title=\"View the details of this artwork\">P12128</a>), Reflections on Crash 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-crash-al00368\" title=\"View the details of this artwork\">AL00368</a>), Reflections on Girl 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-girl-al00369\" title=\"View the details of this artwork\">AL00369</a>), Reflections on Conversation 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-conversation-al00367\" title=\"View the details of this artwork\">AL00367</a>) and Reflections on The Scream 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-the-scream-al00371\" title=\"View the details of this artwork\">AL00371</a>). In all the Reflection prints, the image is partly obscured by semi-<a data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art\" title=\"Glossary definition for 'Abstract art'\">abstract</a> blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained: \n\n<blockquote>It started when I tried to photograph a print by Robert Rauschenberg that was under glass. But the light from a window reflected on the surface of the glass and prevented me from taking a good picture. But it gave me the idea of photographing fairly well-known works under glass, where the reflection would hide most of the work, but you could still make out what the subject was. Well, I tried to do a few photographs in this manner; but I am not much of a photographer. Later the idea occurred to me to do the same idea in painting; and I started this series on various early works of mine … It portrays a painting under glass. It is framed and the glass is preventing you from seeing the painting. Of course the reflections are just an excuse to make an abstract work, with the cartoon image being supposedly partly hidden by the reflections. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.69.)</blockquote>\nIn making the screenprints in the Reflections series, Lichtenstein appropriated imagery from his past works, and particularly from comic book sources, returning to subject matter he had addressed in the 1960s. Lichtenstein’s approach in these reflection works can therefore be read as a witty comment on the techniques of pop artists who themselves quoted and reused imagery found in popular culture, and perhaps an acknowledgement that his own work had entered into popularised visual culture. The idea of reflection in these works also has a precedent in earlier works by Lichtenstein in which mirrors and reflections on glass play a key part, for example, in works derived from comic strips such as In the Car 1963 (Scottish National Gallery of Modern Art, Edinburgh, GMA 2133). \nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1993, New York and Washington D.C. 1994. Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Reflections on Scream

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ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00371

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Roy Lichtenstein

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Reflections on The Scream 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: Reflections on Hair 1990 (Tate P12127), Reflections on Brushstrokes 1990 (Tate P12128), Reflections on Crash 1990 (Tate AL00368), Reflections on Girl 1990 (Tate AL00369), Reflections on Minerva 1990 (Tate AL00370) and Reflections on Conversation 1990 (Tate AL00367). In all the Reflection prints, the image is partly obscured by semi-abstract blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained:

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Reflections on The Scream

1,990

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1990

CLEARED

4

object: 1238 × 1661 mm frame: 1396 × 1815 × 65 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nReflections on The Scream 1990 is from a group of seven Reflections prints which Lichtenstein worked on at Tyler Graphics in Mount Kisco, New York during 1989 and 1990. These prints are recorded in the artist’s catalogue raisonné and described as combining ‘lithography, screenprint, and relief with collage and embossing. Swan Engraving, Bridgeport, Connecticut, processed the magnesium plates.’ (Corlett 1994, pp.221–6). Tate’s copies are part of the sixteen artist’s proofs aside from the edition of sixty-eight. The other prints in the series are: <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\">Reflections on Hair</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\" title=\"View the details of this artwork\">P12127</a>), <a href=\"http://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\">Reflections on Brushstrokes</a> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\" title=\"View the details of this artwork\">P12128</a>), Reflections on Crash 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-crash-al00368\" title=\"View the details of this artwork\">AL00368</a>), Reflections on Girl 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-girl-al00369\" title=\"View the details of this artwork\">AL00369</a>), Reflections on Minerva 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-minerva-al00370\" title=\"View the details of this artwork\">AL00370</a>) and Reflections on Conversation 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-conversation-al00367\" title=\"View the details of this artwork\">AL00367</a>). In all the Reflection prints, the image is partly obscured by semi-<a data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art\" title=\"Glossary definition for 'Abstract art'\">abstract</a> blocks of colour and pattern which simulate reflected light, as if the image is seen behind glass or reflected in another surface. The idea was developed by Lichtenstein in a group of paintings he started in 1988 and which he continued to work on until 1993. Speaking of the paintings series in 1995, the artist explained: \n\n<blockquote>It started when I tried to photograph a print by Robert Rauschenberg that was under glass. But the light from a window reflected on the surface of the glass and prevented me from taking a good picture. But it gave me the idea of photographing fairly well-known works under glass, where the reflection would hide most of the work, but you could still make out what the subject was. Well, I tried to do a few photographs in this manner; but I am not much of a photographer. Later the idea occurred to me to do the same idea in painting; and I started this series on various early works of mine … It portrays a painting under glass. It is framed and the glass is preventing you from seeing the painting. Of course the reflections are just an excuse to make an abstract work, with the cartoon image being supposedly partly hidden by the reflections. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.69.)</blockquote>\nIn making the screenprints in the Reflections series, Lichtenstein appropriated imagery from his past works, and particularly from comic book sources, returning to subject matter he had addressed in the 1960s. Lichtenstein’s approach in these reflection works can therefore be read as a witty comment on the techniques of pop artists who themselves quoted and reused imagery found in popular culture, and perhaps an acknowledgement that his own work had entered into popularised visual culture. The idea of reflection in these works also has a precedent in earlier works by Lichtenstein in which mirrors and reflections on glass play a key part, for example, in works derived from comic strips such as In the Car 1963 (Scottish National Gallery of Modern Art, Edinburgh, GMA 2133). \nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1993, New York and Washington D.C. 1994. Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "actions: expressive", "baby", "babygro", "Ben-Day dots", "cartoon / comic strip", "children", "clothing and personal items", "emotions, concepts and ideas", "formal qualities", "humour", "objects", "people", "screaming", "universal concepts" ]

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3,345

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<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Water Lilies with Cloud

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00372

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7007567 1002551 7007568 7012149 7022657

Roy Lichtenstein

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Water Lilies with Cloud 1992 is one of a series of six screenprints on stainless steel that Lichtenstein made on the subject of water lilies, a series which pays homage to Claude Monet’s (1840–1926) ‘Nymphéas’ paintings of water lilies (see, for example, Water Lilies after 1916 [Tate L01903]). Two others from the series are also in Tate’s collection: Water Lilies with Japanese Bridge 1992 (Tate AL00373) and Water Lily Pond with Reflections 1992 (Tate AL00374). Lichtenstein collaborated with Donald Saff at Saff Tech Arts in Oxford, Maryland to produce the prints. Tate’s copies are from the set of artist’s proofs aside from the edition of twenty-three, and are recorded in the catalogue raisonné of the artist’s prints (Corlett 1994, pp.241–2). These works are a highly accomplished and innovative form of printmaking on stainless steel, and involved the development of a new technique in order to achieve a particular pattern on the metal. As Mary Lee Corlett noted in the catalogue raisonné:

false

1

https://media.tate.org.u…L/AL00372_10.jpg

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paper print screenprint enamel stainless steel

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Water Lilies with Cloud

1,992

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1992

CLEARED

4

1664 × 1137 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nWater Lilies with Cloud 1992 is one of a series of six screenprints on stainless steel that Lichtenstein made on the subject of water lilies, a series which pays homage to Claude Monet’s (1840–1926) ‘Nymphéas’ paintings of water lilies (see, for example, Water Lilies after 1916 [Tate L01903]). Two others from the series are also in Tate’s collection: Water Lilies with Japanese Bridge 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-water-lilies-with-japanese-bridge-al00373\" title=\"View the details of this artwork\">AL00373</a>) and Water Lily Pond with Reflections 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-water-lily-pond-with-reflections-al00374\" title=\"View the details of this artwork\">AL00374</a>). Lichtenstein collaborated with Donald Saff at Saff Tech Arts in Oxford, Maryland to produce the prints. Tate’s copies are from the set of artist’s proofs aside from the edition of twenty-three, and are recorded in the catalogue raisonné of the artist’s prints (Corlett 1994, pp.241–2). These works are a highly accomplished and innovative form of printmaking on stainless steel, and involved the development of a new technique in order to achieve a particular pattern on the metal. As Mary Lee Corlett noted in the catalogue raisonné: \n\n<blockquote>the swirl patterns in the metal dashboards that Lichtenstein remembered from the automobiles of the 1920s and 1930s had been a longtime interest of his, but one that had not found expression until the Saff Tech Arts project. At Saff Tech, a method was developed to create the swirls, using a drill press fitted with a rubber end and suspended upside down from the ceiling. Production of the pattern was labour intensive, as each swirl was executed individually. Sign painter’s enamel was screenprinted on the metal to build a surface of colour that is collage-like in appearance. Lichtenstein designed all of the original frames. Although not apparent in photographs, the images transmogrify – reflecting the light and colour of the room they occupy, shifting and changing as the prints are viewed from different angles. (Corlett 1994, p.239.)</blockquote>\nLichtenstein made numerous paintings and prints based on the work of other artists, including Pablo Picasso and Henri Matisse, and had first made works that paid homage to Monet in 1969, with a series of prints after the French painter’s Cathedral and Haystack series (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-haystacks-1-p07407\" title=\"View the details of this artwork\">P07407</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-haystacks-7-p07413\" title=\"View the details of this artwork\">P07413</a>). However, the Water Lilies series can also be related to Lichtenstein’s preoccupation with reflections, the roots of which can be found in his early pop art works, and which he developed throughout his career, most notably in the Mirror paintings made between 1969 and 1972 and which continued in the Reflection series of paintings and prints in the early 1990s (see the series of Reflections prints [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\" title=\"View the details of this artwork\">P12127</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\" title=\"View the details of this artwork\">P12128</a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-conversation-al00367\" title=\"View the details of this artwork\">AL00367</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-the-scream-al00371\" title=\"View the details of this artwork\">AL00371</a>]).\nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1993, New York and Washington D.C. 1994. Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "Ben-Day dots", "cartoon / comic strip", "cloud", "emotions, concepts and ideas", "formal qualities", "from recognisable sources", "landscape", "plants and flowers", "pond", "water: inland", "water-lily", "weather" ]

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<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Water Lilies with Japanese Bridge

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00373

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Roy Lichtenstein

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Water Lilies with Japanese Bridge 1992 is one of a series of six screenprints on stainless steel that Lichtenstein made on the subject of water lilies, a series which pays homage to Claude Monet’s (1840–1926) ‘Nymphéas’ paintings of water lilies (see, for example, Water Lilies after 1916 [Tate L01903]). Two others from the series are also in Tate’s collection: Water Lilies with Cloud 1992 (Tate AL00372) and Water Lily Pond with Reflections 1992 (Tate AL00374). Lichtenstein collaborated with Donald Saff at Saff Tech Arts in Oxford, Maryland to produce the prints. Tate’s copies are from the set of artist’s proofs aside from the edition of twenty-three, and are recorded in the catalogue raisonné of the artist’s prints (Corlett 1994, pp.241–2). These works are a highly accomplished and innovative form of printmaking on stainless steel, and involved the development of a new technique in order to achieve a particular pattern on the metal. As Mary Lee Corlett noted in the catalogue raisonné:

false

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https://media.tate.org.u…L/AL00373_10.jpg

1508

paper print screenprint enamel stainless steel

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Water Lilies with Japanese Bridge

1,992

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1992

CLEARED

4

2115 × 1473 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nWater Lilies with Japanese Bridge 1992 is one of a series of six screenprints on stainless steel that Lichtenstein made on the subject of water lilies, a series which pays homage to Claude Monet’s (1840–1926) ‘Nymphéas’ paintings of water lilies (see, for example, Water Lilies after 1916 [Tate L01903]). Two others from the series are also in Tate’s collection: Water Lilies with Cloud 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-water-lilies-with-cloud-al00372\" title=\"View the details of this artwork\">AL00372</a>) and Water Lily Pond with Reflections 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-water-lily-pond-with-reflections-al00374\" title=\"View the details of this artwork\">AL00374</a>). Lichtenstein collaborated with Donald Saff at Saff Tech Arts in Oxford, Maryland to produce the prints. Tate’s copies are from the set of artist’s proofs aside from the edition of twenty-three, and are recorded in the catalogue raisonné of the artist’s prints (Corlett 1994, pp.241–2). These works are a highly accomplished and innovative form of printmaking on stainless steel, and involved the development of a new technique in order to achieve a particular pattern on the metal. As Mary Lee Corlett noted in the catalogue raisonné: \n\n<blockquote>the swirl patterns in the metal dashboards that Lichtenstein remembered from the automobiles of the 1920s and 1930s had been a longtime interest of his, but one that had not found expression until the Saff Tech Arts project. At Saff Tech, a method was developed to create the swirls, using a drill press fitted with a rubber end and suspended upside down from the ceiling. Production of the pattern was labour intensive, as each swirl was executed individually. Sign painter’s enamel was screenprinted on the metal to build a surface of colour that is collage-like in appearance. Lichtenstein designed all of the original frames. Although not apparent in photographs, the images transmogrify – reflecting the light and colour of the room they occupy, shifting and changing as the prints are viewed from different angles. (Corlett 1994, p.239.)</blockquote>\nLichtenstein made numerous paintings and prints based on the work of other artists, including Pablo Picasso and Henri Matisse, and had first made works that paid homage to Monet in 1969, with a series of prints after the French painter’s Cathedral and Haystack series (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-haystacks-1-p07407\" title=\"View the details of this artwork\">P07407</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-haystacks-7-p07413\" title=\"View the details of this artwork\">P07413</a>). However, the Water Lilies series can also be related to Lichtenstein’s preoccupation with reflections, the roots of which can be found in his early pop art works, and which he developed throughout his career, most notably in the Mirror paintings made between 1969 and 1972 and which continued in the Reflection series of paintings and prints in the early 1990s (see the series of Reflections prints [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\" title=\"View the details of this artwork\">P12127</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\" title=\"View the details of this artwork\">P12128</a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-conversation-al00367\" title=\"View the details of this artwork\">AL00367</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-the-scream-al00371\" title=\"View the details of this artwork\">AL00371</a>]). \nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1993, New York and Washington D.C. 1994. Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "architecture", "Ben-Day dots", "bridge", "bridges and viaducts", "cartoon / comic strip", "emotions, concepts and ideas", "formal qualities", "from recognisable sources", "landscape", "natural phenomena", "plants and flowers", "pond", "reflection", "water: inland", "water-lily" ]

null

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artwork

Screenprint on enamel on stainless steel

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3,347

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1,992

<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Water Lily Pond with Reflections

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00374

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437

7007567 1002551 7007568 7012149 7022657

Roy Lichtenstein

1,992

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Water Lily Pond with Reflections 1992 is one of a series of six screenprints on stainless steel that Lichtenstein made on the subject of water lilies, a series which pays homage to Claude Monet’s (1840–1926) ‘Nymphéas’ paintings of water lilies (see, for example, Water Lilies after 1916 [Tate L01903]). Two others from the series are also in Tate’s collection: Water Lilies with Japanese Bridge 1992 (Tate AL00373) and Water Lilies with Cloud 1992 (Tate AL00372). Lichtenstein collaborated with Donald Saff at Saff Tech Arts in Oxford, Maryland to produce the prints. Tate’s copies are from the set of artist’s proofs aside from the edition of twenty-three, and are recorded in the catalogue raisonné of the artist’s prints (Corlett 1994, pp.241–2). These works are a highly accomplished and innovative form of printmaking on stainless steel, and involved the development of a new technique in order to achieve a particular pattern on the metal. As Mary Lee Corlett noted in the catalogue raisonné:

false

1

https://media.tate.org.u…L/AL00374_10.jpg

1508

paper print screenprint enamel stainless steel

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Water Lily Pond with Reflections

1,992

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1992

CLEARED

4

1473 × 2146 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nWater Lily Pond with Reflections 1992 is one of a series of six screenprints on stainless steel that Lichtenstein made on the subject of water lilies, a series which pays homage to Claude Monet’s (1840–1926) ‘Nymphéas’ paintings of water lilies (see, for example, Water Lilies after 1916 [Tate L01903]). Two others from the series are also in Tate’s collection: Water Lilies with Japanese Bridge 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-water-lilies-with-japanese-bridge-al00373\" title=\"View the details of this artwork\">AL00373</a>) and Water Lilies with Cloud 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-water-lilies-with-cloud-al00372\" title=\"View the details of this artwork\">AL00372</a>). Lichtenstein collaborated with Donald Saff at Saff Tech Arts in Oxford, Maryland to produce the prints. Tate’s copies are from the set of artist’s proofs aside from the edition of twenty-three, and are recorded in the catalogue raisonné of the artist’s prints (Corlett 1994, pp.241–2). These works are a highly accomplished and innovative form of printmaking on stainless steel, and involved the development of a new technique in order to achieve a particular pattern on the metal. As Mary Lee Corlett noted in the catalogue raisonné: \n\n<blockquote>the swirl patterns in the metal dashboards that Lichtenstein remembered from the automobiles of the 1920s and 1930s had been a longtime interest of his, but one that had not found expression until the Saff Tech Arts project. At Saff Tech, a method was developed to create the swirls, using a drill press fitted with a rubber end and suspended upside down from the ceiling. Production of the pattern was labour intensive, as each swirl was executed individually. Sign painter’s enamel was screenprinted on the metal to build a surface of colour that is collage-like in appearance. Lichtenstein designed all of the original frames. Although not apparent in photographs, the images transmogrify – reflecting the light and colour of the room they occupy, shifting and changing as the prints are viewed from different angles. (Corlett 1994, p.239.)</blockquote>\nLichtenstein made numerous paintings and prints based on the work of other artists, including Pablo Picasso and Henri Matisse, and had first made works that paid homage to Monet in 1969, with a series of prints after the French painter’s Cathedral and Haystack series (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-haystacks-1-p07407\" title=\"View the details of this artwork\">P07407</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-haystacks-7-p07413\" title=\"View the details of this artwork\">P07413</a>). However, the Water Lilies series can also be related to Lichtenstein’s preoccupation with reflections, the roots of which can be found in his early pop art works, and which he developed throughout his career, most notably in the Mirror paintings made between 1969 and 1972 and which continued in the Reflection series of paintings and prints in the early 1990s (see the series of Reflections prints [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-hair-p12127\" title=\"View the details of this artwork\">P12127</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-brushstrokes-p12128\" title=\"View the details of this artwork\">P12128</a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-conversation-al00367\" title=\"View the details of this artwork\">AL00367</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-reflections-on-the-scream-al00371\" title=\"View the details of this artwork\">AL00371</a>]). \nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1993, New York and Washington D.C. 1994. Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "Ben-Day dots", "cartoon / comic strip", "emotions, concepts and ideas", "formal qualities", "from recognisable sources", "landscape", "natural phenomena", "plants and flowers", "pond", "reflection", "water: inland", "water-lily" ]

null

false

38196 16105 189 223 70 72 20053 1731 6217

false

artwork

Relief print on paper

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<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Nude Reading

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00375

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437

7007567 1002551 7007568 7012149 7022657

Roy Lichtenstein

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Nude Reading 1994 is one of a series of nine screenprints that Lichtenstein produced in 1994 on the subject of the nude. Other examples from the series in Tate’s collection are Roommates 1994 (Tate AL00376) and Two Nudes 1994 (Tate AL00377). The prints were made at Tyler Graphics Ltd., Mount Kisco, New York and are recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). As well as using hand-cut stencils to produce his trademark Benday dots in irregularly shaped pieces, Lichtenstein employed computer-generated dye-cut stencils, produced by Swan Engraving, for some of the areas of dots and patterns in these prints. This copy of Nude Reading is number one of twelve artist’s proofs aside from the edition of sixty.

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1

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1508

paper print relief

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Nude Reading

1,994

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1994

CLEARED

4

object: 778 × 922 mm frame: 914 × 1065 × 46 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nNude Reading 1994 is one of a series of nine screenprints that Lichtenstein produced in 1994 on the subject of the nude. Other examples from the series in Tate’s collection are Roommates 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-roommates-al00376\" title=\"View the details of this artwork\">AL00376</a>) and Two Nudes 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-two-nudes-al00377\" title=\"View the details of this artwork\">AL00377</a>). The prints were made at Tyler Graphics Ltd., Mount Kisco, New York and are recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). As well as using hand-cut stencils to produce his trademark Benday dots in irregularly shaped pieces, Lichtenstein employed computer-generated dye-cut stencils, produced by Swan Engraving, for some of the areas of dots and patterns in these prints. This copy of Nude Reading is number one of twelve artist’s proofs aside from the edition of sixty. \nIn the final years of his life, Lichtenstein took up the theme of the nude – one of the major subjects in the history of visual art – and it became an important part of his late work. As well as series of prints, Lichtenstein made paintings on the subject of the nude, including works such as Nudes with Beach Ball 1994 and Blue Nude 1994. It was the first time that he had approached the subject, but also marked a return to the comic book style of imagery he had first developed in the early 1960s. Rather than working from life, Lichtenstein drew on female figures from the comic books he had first used in the 1960s, removed their clothes and imagined their bare bodies beneath in order to recreate them as nudes. Reproduced as comic-strip heroines, the figures in these works are intentionally provocative, presented to the viewer as a generic object of desire.\nThe nudes also show Lichtenstein developing compositional techniques. Speaking in an interview in 1994, he noted that he explored the subject of the nude because it was ‘a good excuse to contrast undulating and volumetric form with rigid geometry’ (quoted in Robert Hurlburt, ‘Lichtenstein Returns to Comic-Book Style’, Sun-Sentinel, Fort Lauderdale, 13 November 1994, cited in Christie’s, New York, Prints & Multiples, auction catalogue, Sale 2548, 24–5 April 2012). Curator Sheena Wagstaff has explained: \n\n<blockquote>In the Nudes, not only did Lichtenstein alter the equation in the compositional tension between motif and formal concerns, but also, crucially, he seized upon a new pictorial language. He deduced and acknowledged the nude as a form through which a new syntax could emerge by means of an understated narrative that implies a relationship between the artist-creator and the nude. </blockquote>\n<blockquote>(Sheena Wagstaff, ‘Late Nudes’, in Rondeau and Wagstaff 2012, p.95.)</blockquote>\nThe nudes relate to many other areas of Lichtenstein’s output, including reflections, mirrors and interiors, and they demonstrate his ongoing fascination with the modern masters, particularly Pablo Picasso and Henri Matisse. He explained: \n\n<blockquote>I’ve always been interested in Matisse but maybe a little more interested in Picasso. But they are both overwhelming influences on everyone, really. Whether one tries to be like them or tries not to be like them, they’re always there as presences to be dealt with. They’re just too formidable to have no interest. I think that somebody who pretends he’s not interested is not interested in art. </blockquote>\n<blockquote>(Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009., p.55.)</blockquote>\n\nFurther reading\n Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. Gianni Mercuri (ed.), Roy Lichtenstein: Meditations on Art, Milan 2010. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\n Lucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Roommates

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00376

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437

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Roy Lichtenstein

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Roommates 1994 is one of a series of nine screenprints that Lichtenstein produced in 1994 on the subject of the nude. Other examples from the series in Tate’s collection are Nude Reading 1994 (Tate AL00375) and Two Nudes 1994 (Tate AL00377). The prints were made at Tyler Graphics Ltd., Mount Kisco, New York and are recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). As well as using hand-cut stencils to produce his trademark Benday dots in irregularly shaped pieces, Lichtenstein employed computer-generated dye-cut stencils, produced by Swan Engraving, for some of the areas of dots and patterns in these prints. This copy of Roommates is number one of ten artist’s proofs aside from the edition of forty.

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Roommates

1,994

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1994

CLEARED

4

object: 1629 × 1299 mm frame: 1789 × 1457 × 65 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nRoommates 1994 is one of a series of nine screenprints that Lichtenstein produced in 1994 on the subject of the nude. Other examples from the series in Tate’s collection are Nude Reading 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-nude-reading-al00375\" title=\"View the details of this artwork\">AL00375</a>) and Two Nudes 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-two-nudes-al00377\" title=\"View the details of this artwork\">AL00377</a>). The prints were made at Tyler Graphics Ltd., Mount Kisco, New York and are recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). As well as using hand-cut stencils to produce his trademark Benday dots in irregularly shaped pieces, Lichtenstein employed computer-generated dye-cut stencils, produced by Swan Engraving, for some of the areas of dots and patterns in these prints. This copy of Roommates is number one of ten artist’s proofs aside from the edition of forty. \nIn the final years of his life, Lichtenstein took up the theme of the nude – one of the major subjects in the history of visual art – and it became an important part of his late work. As well as series of prints, Lichtenstein made paintings on the subject of the nude, including works such as Nudes with Beach Ball 1994 and Blue Nude 1994. It was the first time that he had approached the subject, but also marked a return to the comic book style of imagery he had first developed in the early 1960s. Rather than working from life, Lichtenstein drew on female figures from the comic books he had first used in the 1960s, removed their clothes and imagined their bare bodies beneath in order to recreate them as nudes. Reproduced as comic-strip heroines, the figures in these works are intentionally provocative, presented to the viewer as a generic object of desire.\nThe nudes also show Lichtenstein developing compositional techniques. Speaking in an interview in 1994, he noted that he explored the subject of the nude because it was ‘a good excuse to contrast undulating and volumetric form with rigid geometry’ (quoted in Robert Hurlburt, ‘Lichtenstein Returns to Comic-Book Style’, Sun-Sentinel, Fort Lauderdale, 13 November 1994, cited in Christie’s, New York, Prints & Multiples, auction catalogue, Sale 2548, 24–5 April 2012). Curator Sheena Wagstaff has explained: \n\n<blockquote>In the Nudes, not only did Lichtenstein alter the equation in the compositional tension between motif and formal concerns, but also, crucially, he seized upon a new pictorial language. He deduced and acknowledged the nude as a form through which a new syntax could emerge by means of an understated narrative that implies a relationship between the artist-creator and the nude. (Sheena Wagstaff, ‘Late Nudes’, in Rondeau and Wagstaff 2012, p.95.)</blockquote>\nThe nudes relate to many other areas of Lichtenstein’s output, including reflections, mirrors and interiors, and they demonstrate his ongoing fascination with the modern masters, particularly Pablo Picasso and Henri Matisse. He explained: \n\n<blockquote>I’ve always been interested in Matisse but maybe a little more interested in Picasso. But they are both overwhelming influences on everyone, really. Whether one tries to be like them or tries not to be like them, they’re always there as presences to be dealt with. They’re just too formidable to have no interest. I think that somebody who pretends he’s not interested is not interested in art. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009., p.55.)</blockquote>\n\nFurther reading\n Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. Gianni Mercuri (ed.), Roy Lichtenstein: Meditations on Art, Milan 2010. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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null

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artwork

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<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Two Nudes

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00377

{ "id": 4, "meta": { "type": "art.Classification" } }

437

7007567 1002551 7007568 7012149 7022657

Roy Lichtenstein

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Two Nudes 1994 is one of a series of nine screenprints that Lichtenstein produced in 1994 on the subject of the nude. Other examples from the series in Tate’s collection are Roommates 1994 (Tate AL00376) and Nude Reading 1994 (Tate AL00375). The prints were made at Tyler Graphics Ltd., Mount Kisco, New York and are recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). As well as using hand-cut stencils to produce his trademark Benday dots in irregularly shaped pieces, Lichtenstein employed computer-generated dye-cut stencils, produced by Swan Engraving, for some of the areas of dots and patterns in these prints. This copy of Two Nudes is number one of twelve artist’s proofs aside from the edition of forty.

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paper print relief

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Two Nudes

1,994

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1994

CLEARED

4

object: 1224 × 1046 mm frame: 1375 × 1201 × 65 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nTwo Nudes 1994 is one of a series of nine screenprints that Lichtenstein produced in 1994 on the subject of the nude. Other examples from the series in Tate’s collection are Roommates 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-roommates-al00376\" title=\"View the details of this artwork\">AL00376</a>) and Nude Reading 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-nude-reading-al00375\" title=\"View the details of this artwork\">AL00375</a>). The prints were made at Tyler Graphics Ltd., Mount Kisco, New York and are recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). As well as using hand-cut stencils to produce his trademark Benday dots in irregularly shaped pieces, Lichtenstein employed computer-generated dye-cut stencils, produced by Swan Engraving, for some of the areas of dots and patterns in these prints. This copy of Two Nudes is number one of twelve artist’s proofs aside from the edition of forty. \nIn the final years of his life, Lichtenstein took up the theme of the nude – one of the major subjects in the history of visual art – and it became an important part of his late work. As well as series of prints, Lichtenstein made paintings on the subject of the nude, including works such as Nudes with Beach Ball 1994 and Blue Nude 1994. It was the first time that he had approached the subject, but also marked a return to the comic book style of imagery he had first developed in the early 1960s. Rather than working from life, Lichtenstein drew on female figures from the comic books he had first used in the 1960s, removed their clothes and imagined their bare bodies beneath in order to recreate them as nudes. Reproduced as comic-strip heroines, the figures in these works are intentionally provocative, presented to the viewer as a generic object of desire.\nThe nudes also show Lichtenstein developing compositional techniques. Speaking in an interview in 1994, he noted that he explored the subject of the nude because it was ‘a good excuse to contrast undulating and volumetric form with rigid geometry’ (quoted in Robert Hurlburt, ‘Lichtenstein Returns to Comic-Book Style’, Sun-Sentinel, Fort Lauderdale, 13 November 1994, cited in Christie’s, New York, Prints & Multiples, auction catalogue, Sale 2548, 24–5 April 2012). Curator Sheena Wagstaff has explained: \n\n<blockquote>In the Nudes, not only did Lichtenstein alter the equation in the compositional tension between motif and formal concerns, but also, crucially, he seized upon a new pictorial language. He deduced and acknowledged the nude as a form through which a new syntax could emerge by means of an understated narrative that implies a relationship between the artist-creator and the nude. (Sheena Wagstaff, ‘Late Nudes’, in Rondeau and Wagstaff 2012, p.95.)</blockquote>\nThe nudes relate to many other areas of Lichtenstein’s output, including reflections, mirrors and interiors, and they demonstrate his ongoing fascination with the modern masters, particularly Pablo Picasso and Henri Matisse. He explained: \n\n<blockquote>I’ve always been interested in Matisse but maybe a little more interested in Picasso. But they are both overwhelming influences on everyone, really. Whether one tries to be like them or tries not to be like them, they’re always there as presences to be dealt with. They’re just too formidable to have no interest. I think that somebody who pretends he’s not interested is not interested in art. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009., p.55.)</blockquote>\n\nFurther reading\n Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. Gianni Mercuri (ed.), Roy Lichtenstein: Meditations on Art, Milan 2010. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "actions: expressive", "actions: postures and motions", "adults", "bedroom", "Ben-Day dots", "cartoon / comic strip", "chest of drawers", "clothing and personal items", "comforting", "domestic", "emotions, concepts and ideas", "female", "formal qualities", "furnishings", "hairband", "interiors", "lying down", "nudes", "objects", "people", "plant", "plants and flowers", "sitting", "vase", "vessels and containers", "woman" ]

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<a href="https://www.tate.org.uk/art/artists/roy-lichtenstein-1508" aria-label="More by Roy Lichtenstein" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roy Lichtenstein</a>

Composition I

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00378

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Roy Lichtenstein

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Composition I 1996 is one of three screenprints published by Gemini G.E.L., Los Angeles and recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002), the other two being Composition II 1996 (Tate AL00379) and Composition III 1996 (Tate AL00380). In these prints Lichtenstein presented arrangements of curving and looping musical staves; no longer fixed on their usual horizontal, linear orientation, the musical notation is set free. Two of the prints – Composition I and Composition III – are vertical in format, while Composition II has a landscape format. The notes and curving staves are set against area of primary colours and the artist’s signature diagonal lines and dots. Music was one of Lichtenstein’s great loves – he played the flute and saxophone and was particularly interested in jazz. These images therefore respond to the freedom and improvisatory nature of this form of music, as well as pointing to the artist’s own exploration of visual composition. This copy of Composition I is number three of ten artist’s proofs aside from the edition of fifty.

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paper print screenprint

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Composition I

1,996

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1996

CLEARED

4

object: 1211 × 881 mm frame: 1666 × 1390 × 46 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nComposition I 1996 is one of three screenprints published by Gemini G.E.L., Los Angeles and recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002), the other two being Composition II 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-composition-ii-al00379\" title=\"View the details of this artwork\">AL00379</a>) and Composition III 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-composition-iii-al00380\" title=\"View the details of this artwork\">AL00380</a>). In these prints Lichtenstein presented arrangements of curving and looping musical staves; no longer fixed on their usual horizontal, linear orientation, the musical notation is set free. Two of the prints – Composition I and Composition III – are vertical in format, while Composition II has a landscape format. The notes and curving staves are set against area of primary colours and the artist’s signature diagonal lines and dots. Music was one of Lichtenstein’s great loves – he played the flute and saxophone and was particularly interested in jazz. These images therefore respond to the freedom and improvisatory nature of this form of music, as well as pointing to the artist’s own exploration of visual composition. This copy of Composition I is number three of ten artist’s proofs aside from the edition of fifty.\nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "Ben-Day dots", "cartoon / comic strip", "emotions, concepts and ideas", "formal qualities", "from recognisable sources", "inscriptions", "leisure and pastimes", "man-made", "music", "musical note", "music and entertainment", "objects", "reading, writing, printed matter", "sheet music", "symbols and personifications" ]

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Composition II

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00379

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Roy Lichtenstein

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Composition II 1996 is one of three screenprints published by Gemini G.E.L., Los Angeles and recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002), the other two being Composition I 1996 (Tate AL00378) and Composition III 1996 (Tate AL00380). In these prints Lichtenstein presented arrangements of curving and looping musical staves; no longer fixed on their usual horizontal, linear orientation, the musical notation is set free. Two of the prints – Composition I and Composition III – are vertical in format, while Composition II has a landscape format. The notes and curving staves are set against area of primary colours and the artist’s signature diagonal lines and dots. Music was one of Lichtenstein’s great loves – he played the flute and saxophone and was particularly interested in jazz. These images therefore respond to the freedom and improvisatory nature of this form of music, as well as pointing to the artist’s own exploration of visual composition. This copy of Composition II is number three of twelve artist’s proofs aside from the edition of fifty.

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https://media.tate.org.u…L/AL00379_10.jpg

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Composition II

1,996

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1996

CLEARED

4

object: 902 × 1140 mm frame: 1076 × 1316 × 46 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nComposition II 1996 is one of three screenprints published by Gemini G.E.L., Los Angeles and recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002), the other two being Composition I 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-composition-i-al00378\" title=\"View the details of this artwork\">AL00378</a>) and Composition III 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-composition-iii-al00380\" title=\"View the details of this artwork\">AL00380</a>). In these prints Lichtenstein presented arrangements of curving and looping musical staves; no longer fixed on their usual horizontal, linear orientation, the musical notation is set free. Two of the prints – Composition I and Composition III – are vertical in format, while Composition II has a landscape format. The notes and curving staves are set against area of primary colours and the artist’s signature diagonal lines and dots. Music was one of Lichtenstein’s great loves – he played the flute and saxophone and was particularly interested in jazz. These images therefore respond to the freedom and improvisatory nature of this form of music, as well as pointing to the artist’s own exploration of visual composition. This copy of Composition II is number three of twelve artist’s proofs aside from the edition of fifty.\nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Composition III

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00380

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437

7007567 1002551 7007568 7012149 7022657

Roy Lichtenstein

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Composition III 1996 is one of three screenprints published by Gemini G.E.L., Los Angeles and recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002), the other two being Composition I 1996 (Tate AL00378) and Composition II 1996 (Tate AL00379). In these prints Lichtenstein presented arrangements of curving and looping musical staves; no longer fixed on their usual horizontal, linear orientation, the musical notation is set free. Two of the prints – Composition I and Composition III – are vertical in format, while Composition II has a landscape format. The notes and curving staves are set against area of primary colours and the artist’s signature diagonal lines and dots. Music was one of Lichtenstein’s great loves – he played the flute and saxophone and was particularly interested in jazz. These images therefore respond to the freedom and improvisatory nature of this form of music, as well as pointing to the artist’s own exploration of visual composition. This copy of Composition III is number four of thirty-six artist’s proofs aside from the edition of one hundred and eighty-six.

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Composition III

1,996

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1996

CLEARED

4

object: 1294 × 902 mm frame: 1456 × 1068 × 46 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

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Modern Art I

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ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00381

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Roy Lichtenstein

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Modern Art I 1996 was published by Gemini G.E.L. in Los Angeles and is recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). It is part of a series of Modern Art prints that Lichtenstein made during 1996, the year before he died. Another example, Modern Art II 1996 (Tate AL00382), is also in Tate’s collection. In Modern Art I Lichtenstein explored the refracted style of cubism found in the work of modern masters such as Pablo Picasso. However, in Lichtenstein’s hands, with his use of Benday dots, blocks of colour and stark black outlines, the dislocated features are transformed into highly stylised imagery more common to slick cartoons and comic books. In Modern Art II Lichtenstein explored the cubist style further, in particular the dislocated figurative imagery of Picasso. The nose, with its starkly painted striations, suggests a reference to the imagery Picasso used in paintings such as Les Demoiselles d’Avignon 1907 (Museum of Modern Art, New York). Tate’s copy of Modern Art I is number three of ten artist’s proofs aside from the edition of fifty.

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Modern Art I

1,996

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1996

CLEARED

4

object: 1302 × 962 mm frame: 1412 × 1078 × 46 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nModern Art I 1996 was published by Gemini G.E.L. in Los Angeles and is recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). It is part of a series of Modern Art prints that Lichtenstein made during 1996, the year before he died. Another example, Modern Art II 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-modern-art-ii-al00382\" title=\"View the details of this artwork\">AL00382</a>), is also in Tate’s collection. In Modern Art I Lichtenstein explored the refracted style of cubism found in the work of modern masters such as Pablo Picasso. However, in Lichtenstein’s hands, with his use of Benday dots, blocks of colour and stark black outlines, the dislocated features are transformed into highly stylised imagery more common to slick cartoons and comic books. In Modern Art II Lichtenstein explored the cubist style further, in particular the dislocated figurative imagery of Picasso. The nose, with its starkly painted striations, suggests a reference to the imagery Picasso used in paintings such as Les Demoiselles d’Avignon 1907 (Museum of Modern Art, New York). Tate’s copy of Modern Art I is number three of ten artist’s proofs aside from the edition of fifty.\nFrom the early 1960s Lichtenstein made works that focused on the work of modern masters, such as the painting Woman with Flowered Hat 1963. Speaking about this painting, Lichtenstein explained: \n\n<blockquote>Instead of using subject matter that was considered vernacular, or everyday, I used subject matter that was celebrated as art. What I wanted to express wasn’t that Picasso was known and therefore commonplace. Nobody thought of Picasso as common. What I am painting is a kind of Picasso done the way a cartoonist might do it, or the way it might be described to you, so it loses the subtleties of Picasso, but it takes on other characteristics: the Picasso is converted to my pseudo-cartoon style and takes on a character of its own. Artists have often converted the work of other artists to their own style. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.61.) </blockquote>\nElsewhere, Lichtenstein noted: \n\n<blockquote>I’ve always been interested in Matisse but maybe a little more interested in Picasso. But they are both overwhelming influences on everyone, really. Whether one tries to be like them or tries not to be like them, they’re always there as presences to be dealt with. They’re just too formidable to have no interest. I think that somebody who pretends he’s not interested is not interested in art. (Ibid., p.55.)</blockquote>\nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. Gianni Mercuri (ed.), Roy Lichtenstein: Meditations on Art, Milan 2010. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Modern Art II

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

AL00382

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Roy Lichtenstein

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Modern Art II 1996 was published by Gemini G.E.L. in Los Angeles and is recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). It is part of a series of Modern Art prints that Lichtenstein made during 1996, the year before he died. Another example, Modern Art I 1996 (Tate AL00381), is also in Tate’s collection. In Modern Art I Lichtenstein explored the refracted style of cubism found in the work of modern masters such as Pablo Picasso. In Modern Art II Lichtenstein explored the cubist style further, in particular Picasso’s dislocated figurative imagery. The nose, with its starkly painted striations and almost animalistic appearance, suggests a reference to the imagery Picasso used in paintings such as Les Demoiselles d’Avignon 1907 (Museum of Modern Art, New York). However, in Lichtenstein’s hands, with his use of Benday dots, blocks of colour and black outlines, and introduction of a bold wave of blond hair, the dislocated features are transformed into highly stylised imagery more common to slick cartoons and comic books. Tate’s copy of Modern Art II is number three of ten artist’s proofs aside from the edition of fifty.

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Modern Art II

1,996

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015 On long term loan

1996

CLEARED

4

object: 1229 × 973 mm frame: 1336 × 1086 × 46 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by The Roy Lichtenstein Foundation Collection 2015

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nModern Art II 1996 was published by Gemini G.E.L. in Los Angeles and is recorded in the second volume of the catalogue raisonné of the artist’s prints (Corlett and Fine 2002). It is part of a series of Modern Art prints that Lichtenstein made during 1996, the year before he died. Another example, Modern Art I 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-modern-art-i-al00381\" title=\"View the details of this artwork\">AL00381</a>), is also in Tate’s collection. In Modern Art I Lichtenstein explored the refracted style of cubism found in the work of modern masters such as Pablo Picasso. In Modern Art II Lichtenstein explored the cubist style further, in particular Picasso’s dislocated figurative imagery. The nose, with its starkly painted striations and almost animalistic appearance, suggests a reference to the imagery Picasso used in paintings such as Les Demoiselles d’Avignon 1907 (Museum of Modern Art, New York). However, in Lichtenstein’s hands, with his use of Benday dots, blocks of colour and black outlines, and introduction of a bold wave of blond hair, the dislocated features are transformed into highly stylised imagery more common to slick cartoons and comic books. Tate’s copy of Modern Art II is number three of ten artist’s proofs aside from the edition of fifty.\nFrom the early 1960s Lichtenstein made works that focused on the work of modern masters, such as the painting Woman with Flowered Hat 1963. Speaking about this painting, Lichtenstein explained: \n\n<blockquote>Instead of using subject matter that was considered vernacular, or everyday, I used subject matter that was celebrated as art. What I wanted to express wasn’t that Picasso was known and therefore commonplace. Nobody thought of Picasso as common. What I am painting is a kind of Picasso done the way a cartoonist might do it, or the way it might be described to you, so it loses the subtleties of Picasso, but it takes on other characteristics: the Picasso is converted to my pseudo-cartoon style and takes on a character of its own. Artists have often converted the work of other artists to their own style. (Roy Lichtenstein, ‘A Review of My Work Since 1961’, in Bader 2009, p.61.) </blockquote>\nElsewhere, Lichtenstein noted: \n\n<blockquote>I’ve always been interested in Matisse but maybe a little more interested in Picasso. But they are both overwhelming influences on everyone, really. Whether one tries to be like them or tries not to be like them, they’re always there as presences to be dealt with. They’re just too formidable to have no interest. I think that somebody who pretends he’s not interested is not interested in art. (Ibid., p.55.)</blockquote>\nLichtenstein was born in New York, and was a central player in American pop art. He came to prominence in the 1960s, making works based on imagery from comic strips, such as In the Car and Whaam! 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897\" title=\"View the details of this artwork\">T00897</a>). In these works he used the Benday dot, common to newspaper and magazine reproduction, to produce works that appeared mechanically reproduced, and which in fact are even more stylised than the cartoons Lichtenstein appropriated. Printmaking was an integral part of his practice throughout his career from the late 1950s through to the 1990s.\n\nFurther reading\n Mary Lee Corlett and Ruth E. Fine, The Prints of Roy Lichtenstein: A Catalogue Raisonné: 1948–1997, New York and Washington D.C., revised and updated second edition 2002. Graham Bader (ed.), OCTOBER Files 7: Roy Lichtenstein, Cambridge, Massachusetts and London 2009. Gianni Mercuri (ed.), Roy Lichtenstein: Meditations on Art, Milan 2010. James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue, Tate Modern, London and Art Institute of Chicago 2012.\nLucy Askew Senior Curator, Scottish National Gallery of Modern Art, Edinburgh August 2014\nAmended by Stephen Huyton Assistant Collection Registrar, ARTIST ROOMS September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "adults", "Ben-Day dots", "body", "cartoon / comic strip", "emotions, concepts and ideas", "eye", "figure", "formal qualities", "from recognisable sources", "head / face", "high art", "lifestyle and culture", "nose", "people", "society", "woman" ]

null

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38196 93 16105 1572 221 189 615 12910 6503 167

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artwork

Photograph, gelatin silver print on paper

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1,975

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

AL00387

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,975

[]

false

1

https://media.tate.org.u…L/AL00387_10.jpg

11413

paper print photograph gelatin silver

[ { "artistRoomsTour": false, "dateText": "9 May 2014 – 26 October 2014", "endDate": "2014-10-26", "exhibitionLegs": [ { "dateText": "9 May 2016 – 26 October 2016", "endDate": "2016-10-26", "id": 9080, "startDate": "2016-05-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7446, "startDate": "2014-05-09", "title": "Mapplethorpe Self Portraits and Portraits", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "exhibitionLegs": [ { "dateText": "8 August 2015 – 7 November 2015", "endDate": "2015-11-07", "id": 9592, "startDate": "2015-08-08", "venueName": "Aberystwyth Arts Centre (Aberystwyth, UK)", "venueWebsiteUrl": null } ], "id": 7868, "startDate": "2015-08-08", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "28 November 2015 – 26 April 2016", "endDate": "2016-04-26", "exhibitionLegs": [ { "dateText": "28 November 2015 – 26 April 2016", "endDate": "2016-04-26", "id": 9839, "startDate": "2015-11-28", "venueName": "Bowes Museum (Barnard Castle, UK)", "venueWebsiteUrl": "http://www.bowesmuseum.org.uk" } ], "id": 8101, "startDate": "2015-11-28", "title": "ARTIST ROOMS 2015: Robert Mapplethorpe", "type": "Loan-out" } ]

Self Portrait

1,975

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014 On long term loan

1975, printed 1997

CLEARED

4

image: 355 × 354 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

[]

null

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artwork

Photograph, gelatin silver print on paper

[ { "append_role_to_name": false, "date": "1946–1989", "fc": "Robert Mapplethorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" } ]

3,357

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1,980

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

AL00388

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,980

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false

1

https://media.tate.org.u…L/AL00388_10.jpg

11413

paper print photograph gelatin silver

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Self Portrait

1,980

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014 On long term loan

1980, printed 1990

CLEARED

4

image: 355 × 356 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

[]

[ "adults", "body", "emotions, concepts and ideas", "formal qualities", "head / face", "man", "Mapplethorpe, Robert", "named individuals", "people", "photographic", "portraits", "self-portraits" ]

null

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93 615 195 17643 9328 20114 20116

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artwork

Photograph, gelatin silver print on paper

[ { "append_role_to_name": false, "date": "1946–1989", "fc": "Robert Mapplethorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" } ]

3,359

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1,985

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

AL00390

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,985

[]

false

1

https://media.tate.org.u…L/AL00390_10.jpg

11413

paper print photograph gelatin silver

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Self Portrait

1,985

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014 On long term loan

1985, printed 2005

CLEARED

4

image: 390 × 394 mm frame: 684 × 662 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

[]

null

false

artwork

Photograph, gelatin silver print on paper

[ { "append_role_to_name": false, "date": "1946–1989", "fc": "Robert Mapplethorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" } ]

3,360

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1,986

<a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Self Portrait

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

AL00391

{ "id": 4, "meta": { "type": "art.Classification" } }

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,986

[]

false

1

https://media.tate.org.u…L/AL00391_10.jpg

11413

paper print photograph gelatin silver

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Self Portrait

1,986

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014 On long term loan

1986, printed 1996

CLEARED

4

image: 486 × 483 mm frame: 747 × 722 × 31 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by the Robert Mapplethorpe Foundation 2014

[]

null

false

artwork

Steel, plywood, polystyrene, felt, cement, paint, tarpaulin and fabric

[ { "append_role_to_name": false, "date": "1944–2023", "fc": "Dame Phyllida Barlow DBE RA", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" } ]

3,361

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2,012

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

awnings 2012

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2017

AL00396

{ "id": 8, "meta": { "type": "art.Classification" } }

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

2,012

[]

untitled: awnings, 2012 2012 comprises a series of seven wedge-shaped sculptural forms, jutting out from the wall above head height in a densely packed row. The upper face of each is flat and slopes down from the wall, and the underside is open, resembling a canopy or awning, which appears to have been made from roughly hewn concrete slabs. Each form has been created with a steel frame and polystyrene sheet, over which polyurethane foam, cement scrim and sand have been applied, and then varnished.

false

1

https://media.tate.org.u…AL/AL00396_9.jpg

10908

sculpture steel plywood polystyrene felt cement paint tarpaulin fabric

[ { "artistRoomsTour": false, "dateText": "23 August 2021 – 31 July 2022", "endDate": "2022-07-31", "exhibitionLegs": [ { "dateText": "23 August 2021 – 31 July 2022", "endDate": "2022-07-31", "id": 14632, "startDate": "2021-08-23", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12053, "startDate": "2021-08-23", "title": "ARTIST ROOMS Phyllida Barlow", "type": "Collection based display" } ]

untitled: awnings, 2012

2,012

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2017 On long term loan

2012

CLEARED

8

object: 2616 × 6071 × 2311 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2017

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2017

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nuntitled: awnings, 2012 2012 comprises a series of seven wedge-shaped sculptural forms, jutting out from the wall above head height in a densely packed row. The upper face of each is flat and slopes down from the wall, and the underside is open, resembling a canopy or awning, which appears to have been made from roughly hewn concrete slabs. Each form has been created with a steel frame and polystyrene sheet, over which polyurethane foam, cement scrim and sand have been applied, and then varnished. \nThese grey, visor-like roofs are draped festively in layers of lightweight fabric of different colours and sizes, loose threads hanging from frayed edges, and invite viewers to duck beneath their partial protection. The coloured rectangles of reds, pinks, oranges and yellows are characteristic of Barlow’s distinctive palette and introduce a playful atmosphere, as well as a sense of theatre or staging. The ambiguities of what an object is made of, appearance versus reality, heavy versus light, hollow versus solid, permanence and fluidity, are all part of the process of encountering the object through ‘the complicated act of looking’ that Barlow wishes to orchestrate, to encourage the viewer to actively explore the work, moving around it to discover its inherent paradox and duality (quoted in Phyllida Barlow: folly 2017, p. 11). Her installations actively engage viewers by drawing them among, under or around obstacles in much the same way that we navigate our environment on a daily basis. \nBarlow’s practice is focused on materials and the act of making: her work explicitly engages with process. Expediency and availability drove Barlow’s early choice of everyday materials for her work, drawing her inspiration from the urban environment and the streets near her home. Having rejected the predominant sculptural aesthetic of the British sculpture scene of the 1960s, dominated by the production of cast and welded sculptures, Barlow embraced the new environmental sculpture, making temporary structures from discarded building materials and siting them in warehouse and parks. Necessity drove her to develop a practice of making-do, scavenging material, and much of what she produces in her installations is recycled and repurposed into her next projects; a process of production, deconstruction and reconstruction, encapsulating entropy and fragility, that mirrors the life-cycles of the natural world. \nIt is typical of the artist’s practice that she revisits ideas, more or less closely, and this is the case with untitled: awnings, 2012. It was first shown in the exhibition …..later in 2012, her first exhibition at Hauser & Wirth, New York, which also included the sculpture untitled: upturnedhouse 2012 (see also untitled: upturnedhouse, 2 2012 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/barlow-untitled-upturnedhouse2-2012-ar01228\" title=\"View the details of this artwork\">AR01228</a>]). The sculptural form of awnings reappears in a larger version in eleven parts, which was included in the artist’s solo show Phyllida Barlow: scree, at Des Moines Art Center, Des Moines in 2013, where it shared the exhibition space with the monumental untitled:screestage 2013, later presented as part of the Hepworth Prize in Wakefield in 2016. Barlow re-explored the ‘awning’ in untitled: folly; awnings; 2016/2017 2016–17, part of her installation, entitled folly, commissioned for the British Pavilion at the 57th International Art Exhibition in Venice in 2017. \nMany of Barlow’s installations include such recognisable objects as awnings, columns, axles and placards, which she collectively refers to as ‘substitutions’ or ‘surrogates’. Some of these approximations resemble their referent, others barely hint at any relation to an actual object. Barlow’s interplay between abstract and the apparently representational is a deliberate part of her exploration of the nature of sculpture and its relation to the real and its counterpoints. The overt artificiality of these sculptural surrogates, with their roughly hewn and ambiguous forms, evades description, and keeping this ambiguity open allows the viewer to question the nature of the encountered object. The artist has explained, ‘They are almost props – they have that theatrical association, they are aspiring to be but they aren’t – so in a way they are frail symbols of something.’ (Quoted in Barlow 2017, p.10). Barlow’s sculpture subverts the easily encapsulated; the interplay of real and fake, the tension of form and formlessness, the duality of front and back, theatricality, and the role of colour and paint in sculpture are abiding concerns of her practice. In her own words, her sculpture is ‘wordless, wild, messy, unpredictable, ugly, difficult’ (quoted in Barlow 2004, p. 63).\n\nFurther reading\n Phyllida Barlow, Objects For … And Other Things; Phyllida Barlow, London 2004. Fiona Bradley (ed.), Phyllida Barlow, Sculpture 1963–2015, exhibition catalogue, Fruitmarket Gallery, Edinburgh 2015. \nPhyllida Barlow: folly, exhibition catalogue, 57th International Art Exhibition – La Biennale di Venezia, Venice 2017.\nCeri Lewis September 2017\n</div>\n", "display_name": "Summary", "publication_date": "2019-08-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Oil paint on canvas

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3,362

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1,946

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2018

AL00397

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Louise Bourgeois

1,946

[]

false

1

https://media.tate.org.u…AL/AL00397_8.jpg

2351

painting oil paint canvas

[ { "artistRoomsTour": false, "dateText": "11 October 2007 – 1 February 2009", "endDate": "2009-02-01", "exhibitionLegs": [ { "dateText": "9 October 2007 – 20 January 2008", "endDate": "2008-01-20", "id": 3376, "startDate": "2007-10-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "5 March 2008 – 2 June 2008", "endDate": "2008-06-02", "id": 3377, "startDate": "2008-03-05", "venueName": "Robert Rubin", "venueWebsiteUrl": null }, { "dateText": "27 June 2008 – 28 September 2008", "endDate": "2008-09-28", "id": 3378, "startDate": "2008-06-27", "venueName": "Solomon R. Guggenheim Museum (New York, USA)", "venueWebsiteUrl": null }, { "dateText": "25 October 2008 – 25 January 2009", "endDate": "2009-01-25", "id": 3379, "startDate": "2008-10-25", "venueName": "Los Angeles Museum of Contemporary Art (Los Angeles, USA)", "venueWebsiteUrl": null }, { "dateText": "28 February 2009 – 7 June 2009", "endDate": "2009-06-07", "id": 3558, "startDate": "2009-02-28", "venueName": "Hirshhorn Museum and Sculpture Garden (Washington D.C., USA)", "venueWebsiteUrl": "http://hirshhorn.si.edu/" } ], "id": 2961, "startDate": "2007-10-11", "title": "Retrospective Bourgeois", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 18 June 2017", "endDate": "2017-06-18", "exhibitionLegs": [ { "dateText": "10 June 2016 – 18 June 2017", "endDate": "2017-06-18", "id": 10421, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8598, "startDate": "2016-06-10", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "11 April 2022 – 1 January 2023", "endDate": "2023-01-01", "exhibitionLegs": [ { "dateText": "11 April 2022 – 7 August 2022", "endDate": "2022-08-07", "id": 14777, "startDate": "2022-04-11", "venueName": "Metropolitan Museum of Art (New York, USA)", "venueWebsiteUrl": "http://www.metmuseum.org" }, { "dateText": "8 September 2022 – 1 January 2023", "endDate": "2023-01-01", "id": 14778, "startDate": "2022-09-08", "venueName": "New Orleans Museum of Art (New Orleans, USA)", "venueWebsiteUrl": null } ], "id": 12155, "startDate": "2022-04-11", "title": "Louise Bourgeois: Paintings", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "23 July 2022 – 6 October 2024", "endDate": "2024-10-06", "exhibitionLegs": [ { "dateText": "2 March 2024 – 9 June 2024", "endDate": "2024-06-09", "id": 15334, "startDate": "2024-03-02", "venueName": "Aberdeen Art Gallery (Aberdeen, UK)", "venueWebsiteUrl": "http://www.aagm.co.uk" }, { "dateText": "6 July 2024 – 6 October 2024", "endDate": "2024-10-06", "id": 15434, "startDate": "2024-07-06", "venueName": "Compton Verney (Compton Verney, UK)", "venueWebsiteUrl": null } ], "id": 12293, "startDate": "2022-07-23", "title": "Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 May 2023 – 6 August 2023", "endDate": "2023-08-06", "exhibitionLegs": [ { "dateText": "3 May 2023 – 6 August 2023", "endDate": "2023-08-06", "id": 13961, "startDate": "2023-05-03", "venueName": "Nasjonalmuseet (Oslo, Norway)", "venueWebsiteUrl": null } ], "id": 11532, "startDate": "2023-05-03", "title": "Louise Bourgeois: Imaginary Conversations", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "21 September 2023 – 28 January 2024", "endDate": "2024-01-28", "exhibitionLegs": [ { "dateText": "21 September 2023 – 28 January 2024", "endDate": "2024-01-28", "id": 15225, "startDate": "2023-09-21", "venueName": "Österreichische Galerie Belvedere (Vienna, Austria)", "venueWebsiteUrl": null } ], "id": 12496, "startDate": "2023-09-21", "title": "Louise Bourgeois", "type": "Loan-out" } ]

Untitled

1,946

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2018 On long term loan

1946–7

CLEARED

6

support: 660 × 1116 × 20 mm frame: 770 × 1224 × 55 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2018

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2018

[]

null

true

false

artwork

Clothing, rubber, steel and other materials

[ { "append_role_to_name": false, "date": "1911–2010", "fc": "Louise Bourgeois", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/louise-bourgeois-2351" } ]

3,363

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,996

<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2018

AL00398

{ "id": 8, "meta": { "type": "art.Classification" } }

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Louise Bourgeois

1,996

[]

false

1

https://media.tate.org.u…AL/AL00398_8.jpg

2351

sculpture clothing rubber steel other materials

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Untitled

1,996

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2018 On long term loan

1996

CLEARED

8

object: 2832 × 2972 × 2540 mm

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2018

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2018

[]

null

true

false

artwork

Neon tubing mounted on aluminium

[ { "append_role_to_name": false, "date": "born 1941", "fc": "Bruce Nauman", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/bruce-nauman-1691" } ]

3,364

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,985

<a href="https://www.tate.org.uk/art/artists/bruce-nauman-1691" aria-label="More by Bruce Nauman" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Bruce Nauman</a>

Double Poke in Eye II

null

[]

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2020

AL00399

{ "id": 7, "meta": { "type": "art.Classification" } }

2012711 2066975 2569984 7014456 7013933 1002143 7007252 7012149

Bruce Nauman

1,985

[]

false

1

https://media.tate.org.u…L/AL00399_10.jpg

1691

relief neon tubing mounted aluminium

[]

Double Poke in the Eye II

1,985

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2020 On long term loan

1985

CLEARED

7

object: 613 × 915 × 250 mm (measured)

long loan

ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2020

[]

null

false

artwork

Oil paint on hardboard

[ { "append_role_to_name": false, "date": "born 1927", "fc": "Alex Katz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alex-katz-1386" } ]

3,366

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,967

Pansies

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00001

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,967

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false

1

https://media.tate.org.u…R/AR00001_10.jpg

1386

painting oil paint hardboard

[ { "artistRoomsTour": true, "dateText": "14 March 2009 – 8 November 2009", "endDate": "2009-11-08", "exhibitionLegs": [ { "dateText": "12 March 2009 – 8 November 2009", "endDate": "2009-11-08", "id": 4995, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4192, "startDate": "2009-03-14", "title": "ARTIST ROOMS Alex Katz", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "exhibitionLegs": [ { "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "id": 5397, "startDate": "2010-11-20", "venueName": "Oriel Mostyn (Llandudno, UK)", "venueWebsiteUrl": "http://www.mostyn.org/home.php?/Home" } ], "id": 4525, "startDate": "2010-11-20", "title": "ARTIST ROOMS 2010: Alex Katz", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "exhibitionLegs": [ { "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "id": 6169, "startDate": "2011-03-26", "venueName": "Pier Arts Centre (Stromness, UK)", "venueWebsiteUrl": "http://www.pierartscentre.com/" } ], "id": 5039, "startDate": "2011-03-26", "title": "ARTIST ROOMS 2011: Alex Katz & Cy Twombly", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 May 2012 – 13 January 2013", "endDate": "2013-01-13", "exhibitionLegs": [ { "dateText": "19 May 2012 – 23 September 2012", "endDate": "2012-09-23", "id": 6688, "startDate": "2012-05-19", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" }, { "dateText": "6 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 7051, "startDate": "2012-10-06", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5447, "startDate": "2012-05-19", "title": "Alex Katz: Give me tomorrow", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "1 October 2012 – 31 January 2013", "endDate": "2013-01-31", "exhibitionLegs": [ { "dateText": "1 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 6966, "startDate": "2012-10-01", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5683, "startDate": "2012-10-01", "title": "Alex Katz: Give me tomorrow", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "18 July 2013 – 31 October 2013", "endDate": "2013-10-31", "exhibitionLegs": [ { "dateText": "18 July 2013 – 31 October 2013", "endDate": "2013-10-31", "id": 7906, "startDate": "2013-07-18", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 6480, "startDate": "2013-07-18", "title": "Beneath the Surface", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "23 November 2018 – 10 March 2019", "endDate": "2019-03-10", "exhibitionLegs": [ { "dateText": "23 November 2018 – 10 March 2019", "endDate": "2019-03-10", "id": 12428, "startDate": "2018-11-23", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 10236, "startDate": "2018-11-23", "title": "ARTIST ROOMS Alex Katz", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "exhibitionLegs": [ { "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "id": 13004, "startDate": "2019-03-30", "venueName": "Tullie House Museum and Art Gallery Trust (Carlisle, UK)", "venueWebsiteUrl": null } ], "id": 10706, "startDate": "2019-03-30", "title": "ARTIST ROOMS 2019: Alex Katz", "type": "Tate partnerships & programmes" } ]

Pansies

1,967

ARTIST ROOMS Tate and National Galleries of Scotland

1967

CLEARED

6

support: 309 × 404 × 4 mm frame: 322 × 424 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Katz explores the boundaries between abstract, flat surface and expressive realism in this simple, decorative subject. He has been painting flowers since the 1960s, often painted during summer residencies in Maine. The cropped, flattened composition owes a debt to Japanese art. Katz is well-known for his large paintings, whose bold simplicity and unmodulated colours are now seen as precursors of Pop Art. Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice. He says, \"A sketch is very direct. It is working empirically, inside of an idea.\"\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "pansy", "plants and flowers" ]

null

false

1964 72

false

artwork

Oil paint on hardboard

[ { "append_role_to_name": false, "date": "born 1927", "fc": "Alex Katz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alex-katz-1386" } ]

3,367

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,969

Tulips

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00002

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,969

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false

1

https://media.tate.org.u…R/AR00002_10.jpg

1386

painting oil paint hardboard

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Tulips

1,969

ARTIST ROOMS Tate and National Galleries of Scotland

1969

CLEARED

6

support: 356 × 253 × 3 mm frame: 375 × 273 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "plants and flowers", "tulip" ]

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false

72 4943

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artwork

Oil paint on hardboard

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West Window

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00003

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Alex Katz

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painting oil paint hardboard

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West Window

1,979

ARTIST ROOMS Tate and National Galleries of Scotland

1979

CLEARED

6

support: 196 × 238 × 3 mm frame: 216 × 256 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

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false

artwork

Oil paint on hardboard

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3,369

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1,983

Lillies Against Yellow House

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00004

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Alex Katz

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https://media.tate.org.u…R/AR00004_10.jpg

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painting oil paint hardboard

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Lillies Against Yellow House

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

6

support: 307 × 229 × 3 mm frame: 327 × 249 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

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false

artwork

Oil paint on hardboard

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3,370

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Young Trees

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00005

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Alex Katz

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Young Trees

1,989

ARTIST ROOMS Tate and National Galleries of Scotland

1989

CLEARED

6

support: 407 × 301 × 3 mm frame: 426 × 320 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "The contrast between black sky and artificially lit ground create an unsettling atmosphere in this small study, as if we were observing the backdrop for a disturbing event. Katz has been painting the American landscape since the 1950s, often inspired by summer residencies in Maine. The melancholic undercurrents in this work suggest the influence of Edvard Munch. Katz is well-known for his large paintings, whose bold simplicity and heightened colours are now seen as precursors to Pop Art. Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice. He says, \"A sketch is very direct. It is working empirically, inside of an idea.\"\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "forest", "landscape", "natural phenomena", "shadow", "sunshine", "tree", "weather" ]

null

false

4279 70 1810 40627 1827 77

false

artwork

Oil paint on board

[ { "append_role_to_name": false, "date": "born 1927", "fc": "Alex Katz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alex-katz-1386" } ]

3,371

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1,992

Daisies 2

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00006

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,992

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false

1

https://media.tate.org.u…R/AR00006_10.jpg

1386

painting oil paint board

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Daisies #2

1,992

ARTIST ROOMS Tate and National Galleries of Scotland

1992

CLEARED

6

support: 231 × 320 × 6 mm frame: 250 × 321 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Katz punctuates a green colour field with accents of colour, the simple, loose brushwork reminiscent of the abstract expressionist style. He has been painting flowers since the 1960s, often during summer residencies in Maine. The cropped, flattened composition and loose brushwork display a debt to Japanese art. Katz is well-known for his large paintings, whose bold simplicity and unmodulated colours are now seen as precursors of Pop Art. Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice. He says, \"A sketch is very direct. It is working empirically, inside of an idea.\"\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "daisy", "plants and flowers" ]

null

false

2422 72

false

artwork

Oil paint on fibreboard

[ { "append_role_to_name": false, "date": "born 1927", "fc": "Alex Katz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alex-katz-1386" } ]

3,372

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1,992

Ocean

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00007

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,992

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false

1

https://media.tate.org.u…R/AR00007_10.jpg

1386

painting oil paint fibreboard

[ { "artistRoomsTour": true, "dateText": "14 March 2009 – 8 November 2009", "endDate": "2009-11-08", "exhibitionLegs": [ { "dateText": "12 March 2009 – 8 November 2009", "endDate": "2009-11-08", "id": 4995, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4192, "startDate": "2009-03-14", "title": "ARTIST ROOMS Alex Katz", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "exhibitionLegs": [ { "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "id": 5397, "startDate": "2010-11-20", "venueName": "Oriel Mostyn (Llandudno, UK)", "venueWebsiteUrl": "http://www.mostyn.org/home.php?/Home" } ], "id": 4525, "startDate": "2010-11-20", "title": "ARTIST ROOMS 2010: Alex Katz", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "exhibitionLegs": [ { "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "id": 6169, "startDate": "2011-03-26", "venueName": "Pier Arts Centre (Stromness, UK)", "venueWebsiteUrl": "http://www.pierartscentre.com/" } ], "id": 5039, "startDate": "2011-03-26", "title": "ARTIST ROOMS 2011: Alex Katz & Cy Twombly", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 May 2012 – 13 January 2013", "endDate": "2013-01-13", "exhibitionLegs": [ { "dateText": "19 May 2012 – 23 September 2012", "endDate": "2012-09-23", "id": 6688, "startDate": "2012-05-19", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" }, { "dateText": "6 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 7051, "startDate": "2012-10-06", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5447, "startDate": "2012-05-19", "title": "Alex Katz: Give me tomorrow", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "1 October 2012 – 31 January 2013", "endDate": "2013-01-31", "exhibitionLegs": [ { "dateText": "1 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 6966, "startDate": "2012-10-01", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5683, "startDate": "2012-10-01", "title": "Alex Katz: Give me tomorrow", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "18 July 2013 – 31 October 2013", "endDate": "2013-10-31", "exhibitionLegs": [ { "dateText": "18 July 2013 – 31 October 2013", "endDate": "2013-10-31", "id": 7906, "startDate": "2013-07-18", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 6480, "startDate": "2013-07-18", "title": "Beneath the Surface", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "23 November 2018 – 10 March 2019", "endDate": "2019-03-10", "exhibitionLegs": [ { "dateText": "23 November 2018 – 10 March 2019", "endDate": "2019-03-10", "id": 12428, "startDate": "2018-11-23", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 10236, "startDate": "2018-11-23", "title": "ARTIST ROOMS Alex Katz", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "exhibitionLegs": [ { "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "id": 13004, "startDate": "2019-03-30", "venueName": "Tullie House Museum and Art Gallery Trust (Carlisle, UK)", "venueWebsiteUrl": null } ], "id": 10706, "startDate": "2019-03-30", "title": "ARTIST ROOMS 2019: Alex Katz", "type": "Tate partnerships & programmes" } ]

Ocean View

1,992

ARTIST ROOMS Tate and National Galleries of Scotland

1992

CLEARED

6

support: 231 × 320 × 6 mm frame: 251 × 315 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "In this small study Katz has combined two of his favourite subjects: flowers and landscape. He has been painting American landscapes since the 1950s, often during summer residencies in Maine. The broad bands of colour and expressive marks reveal an interest in abstract expressionist painting. Katz is well-known for his large-scale paintings whose bold simplicity and unmodulated colours are now seen as precursors of Pop Art. Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice. He says, \"A sketch is very direct. It is working empirically, inside of an idea.\"\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "beach", "daisy", "grass", "plants and flowers", "sea", "seascapes and coasts" ]

null

false

1519 2422 755 72 557 73

false

artwork

Oil paint on hardboard

[ { "append_role_to_name": false, "date": "born 1927", "fc": "Alex Katz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alex-katz-1386" } ]

3,373

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1,993

Winter Branch

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00008

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,993

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false

1

https://media.tate.org.u…R/AR00008_10.jpg

1386

painting oil paint hardboard

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Winter Branch

1,993

ARTIST ROOMS Tate and National Galleries of Scotland

1993

CLEARED

6

support: 230 × 302 × 4 mm frame: 250 × 321 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "branch", "seasons", "tree", "winter" ]

null

false

1832 74 1827 497

false

artwork

Oil paint on hardboard

[ { "append_role_to_name": false, "date": "born 1927", "fc": "Alex Katz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alex-katz-1386" } ]

3,374

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1,994

Night Branch

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00009

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,994

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https://media.tate.org.u…R/AR00009_10.jpg

1386

painting oil paint hardboard

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Night Branch

1,994

ARTIST ROOMS Tate and National Galleries of Scotland

1994

CLEARED

6

support: 302 × 230 × 3 mm frame: 321 × 250 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

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artwork

Oil paint on hardboard

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3,375

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1,997

West Palm Beach

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00010

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Alex Katz

1,997

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false

1

https://media.tate.org.u…R/AR00010_10.jpg

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painting oil paint hardboard

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West Palm Beach

1,997

ARTIST ROOMS Tate and National Galleries of Scotland

1997

CLEARED

6

support: 228 × 299 × 3 mm frame: 249 × 319 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

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false

artwork

Oil paint on board

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3,376

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1,997

3 PM November

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00011

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,997

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false

1

https://media.tate.org.u…R/AR00011_10.jpg

1386

painting oil paint board

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3 PM, November

1,997

ARTIST ROOMS Tate and National Galleries of Scotland

1997

CLEARED

6

support: 231 × 302 mm frame: 251 × 321 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

2393 543 1832 74 4574 75 1827

false

artwork

Oil paint on hardboard

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3,377

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1,998

City Night

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00012

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Alex Katz

1,998

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false

1

https://media.tate.org.u…R/AR00012_10.jpg

1386

painting oil paint hardboard

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City Night

1,998

ARTIST ROOMS Tate and National Galleries of Scotland

1998

CLEARED

6

support: 229 × 300 × 4 mm frame: 249 × 321 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

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artwork

Oil paint on board

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3,378

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1,998

Green Shadow 2

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00013

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Alex Katz

1,998

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false

1

https://media.tate.org.u…R/AR00013_10.jpg

1386

painting oil paint board

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Green Shadow #2

1,998

ARTIST ROOMS Tate and National Galleries of Scotland

1998

CLEARED

6

support: 234 × 306 × 4 mm frame: 250 × 324 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

70 1810 40627 1827 77 496

false

artwork

Oil paint on hardboard

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3,379

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1,998

Road

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00014

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Alex Katz

1,998

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false

1

https://media.tate.org.u…R/AR00014_10.jpg

1386

painting oil paint hardboard

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Road

1,998

ARTIST ROOMS Tate and National Galleries of Scotland

1998

CLEARED

6

support: 308 × 230 × 3 mm frame: 323 × 250 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

70 769 1810 40627 77 496

false

artwork

Oil paint on board

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3,380

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1,999

Penobscot

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00015

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Alex Katz

1,999

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false

1

https://media.tate.org.u…R/AR00015_10.jpg

1386

painting oil paint board

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Penobscot

1,999

ARTIST ROOMS Tate and National Galleries of Scotland

1999

CLEARED

6

support: 229 × 305 × 4 mm frame: 249 × 322 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

1519 1865 557 73 40627 161 1811 77

false

artwork

Oil paint on hardboard

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3,381

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2,000

Grey Marine

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00016

{ "id": 6, "meta": { "type": "art.Classification" } }

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Alex Katz

2,000

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false

1

https://media.tate.org.u…R/AR00016_10.jpg

1386

painting oil paint hardboard

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Grey Marine

2,000

ARTIST ROOMS Tate and National Galleries of Scotland

2000

CLEARED

6

support: 230 × 305 × 3 mm frame: 249 × 325 × 34 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "sea", "seascapes and coasts", "wave" ]

null

false

557 73 2104

false

artwork

Oil paint on hardboard

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3,382

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1,981

Pink Sweater

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00017

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,981

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false

1

https://media.tate.org.u…R/AR00017_10.jpg

1386

painting oil paint hardboard

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Pink Sweater

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981

CLEARED

6

support: 405 × 302 × 3 mm frame: 428 × 322 × 30 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

177 93 4059 615 20117 20114 2155 167

false

artwork

Oil paint on hardboard

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3,383

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1,985

Elis Friend

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00018

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Alex Katz

1,985

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1386

painting oil paint hardboard

[ { "artistRoomsTour": true, "dateText": "14 March 2009 – 8 November 2009", "endDate": "2009-11-08", "exhibitionLegs": [ { "dateText": "12 March 2009 – 8 November 2009", "endDate": "2009-11-08", "id": 4995, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4192, "startDate": "2009-03-14", "title": "ARTIST ROOMS Alex Katz", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "exhibitionLegs": [ { "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "id": 5397, "startDate": "2010-11-20", "venueName": "Oriel Mostyn (Llandudno, UK)", "venueWebsiteUrl": "http://www.mostyn.org/home.php?/Home" } ], "id": 4525, "startDate": "2010-11-20", "title": "ARTIST ROOMS 2010: Alex Katz", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "exhibitionLegs": [ { "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "id": 6169, "startDate": "2011-03-26", "venueName": "Pier Arts Centre (Stromness, UK)", "venueWebsiteUrl": "http://www.pierartscentre.com/" } ], "id": 5039, "startDate": "2011-03-26", "title": "ARTIST ROOMS 2011: Alex Katz & Cy Twombly", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 May 2012 – 13 January 2013", "endDate": "2013-01-13", "exhibitionLegs": [ { "dateText": "19 May 2012 – 23 September 2012", "endDate": "2012-09-23", "id": 6688, "startDate": "2012-05-19", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" }, { "dateText": "6 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 7051, "startDate": "2012-10-06", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5447, "startDate": "2012-05-19", "title": "Alex Katz: Give me tomorrow", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "1 October 2012 – 31 January 2013", "endDate": "2013-01-31", "exhibitionLegs": [ { "dateText": "1 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 6966, "startDate": "2012-10-01", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5683, "startDate": "2012-10-01", "title": "Alex Katz: Give me tomorrow", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "exhibitionLegs": [ { "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "id": 13004, "startDate": "2019-03-30", "venueName": "Tullie House Museum and Art Gallery Trust (Carlisle, UK)", "venueWebsiteUrl": null } ], "id": 10706, "startDate": "2019-03-30", "title": "ARTIST ROOMS 2019: Alex Katz", "type": "Tate partnerships & programmes" } ]

Eli’s Friend

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985

CLEARED

6

frame: 422 × 320 × 34 mm support: 402 × 300 × 3 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Although painted from life, this oil study of the artist’s friend has a photographic quality in its centred, cropped composition and frontal gaze. Katz has been painting portraits of his family and friends in New York since the 1950s; these are now seen as precursors of Pop Art. Often grand in scale, they have a slick finish and detached manner with undercurrents of melancholia. Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice. He says, \"A sketch is very direct. It is working empirically, inside of an idea.\"\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "adults", "body", "clothing and personal items", "headband", "head / face", "individuals: female", "necklace", "objects", "people", "portraits", "woman" ]

null

false

93 88 615 3419 20117 2217 20114 167

false

artwork

Oil paint on hardboard

[ { "append_role_to_name": false, "date": "born 1927", "fc": "Alex Katz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alex-katz-1386" } ]

3,384

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,993

Kate

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00019

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,993

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false

1

https://media.tate.org.u…R/AR00019_10.jpg

1386

painting oil paint hardboard

[ { "artistRoomsTour": true, "dateText": "14 March 2009 – 8 November 2009", "endDate": "2009-11-08", "exhibitionLegs": [ { "dateText": "12 March 2009 – 8 November 2009", "endDate": "2009-11-08", "id": 4995, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4192, "startDate": "2009-03-14", "title": "ARTIST ROOMS Alex Katz", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "exhibitionLegs": [ { "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "id": 5397, "startDate": "2010-11-20", "venueName": "Oriel Mostyn (Llandudno, UK)", "venueWebsiteUrl": "http://www.mostyn.org/home.php?/Home" } ], "id": 4525, "startDate": "2010-11-20", "title": "ARTIST ROOMS 2010: Alex Katz", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "exhibitionLegs": [ { "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "id": 6169, "startDate": "2011-03-26", "venueName": "Pier Arts Centre (Stromness, UK)", "venueWebsiteUrl": "http://www.pierartscentre.com/" } ], "id": 5039, "startDate": "2011-03-26", "title": "ARTIST ROOMS 2011: Alex Katz & Cy Twombly", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "19 May 2012 – 13 January 2013", "endDate": "2013-01-13", "exhibitionLegs": [ { "dateText": "19 May 2012 – 23 September 2012", "endDate": "2012-09-23", "id": 6688, "startDate": "2012-05-19", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" }, { "dateText": "6 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 7051, "startDate": "2012-10-06", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5447, "startDate": "2012-05-19", "title": "Alex Katz: Give me tomorrow", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "1 October 2012 – 31 January 2013", "endDate": "2013-01-31", "exhibitionLegs": [ { "dateText": "1 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 6966, "startDate": "2012-10-01", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5683, "startDate": "2012-10-01", "title": "Alex Katz: Give me tomorrow", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "exhibitionLegs": [ { "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "id": 13004, "startDate": "2019-03-30", "venueName": "Tullie House Museum and Art Gallery Trust (Carlisle, UK)", "venueWebsiteUrl": null } ], "id": 10706, "startDate": "2019-03-30", "title": "ARTIST ROOMS 2019: Alex Katz", "type": "Tate partnerships & programmes" } ]

Kate

1,993

ARTIST ROOMS Tate and National Galleries of Scotland

1993

CLEARED

6

support: 403 × 304 × 3 mm frame: 432 × 333 × 32 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Katz painted his friend Kate as a study for a series of 11 larger paintings from 1993 to 1994 called ‘Smile’. The series shows women centred on black backgrounds smiling awkwardly, as if posing for photographs, their stiff composure suggesting vulnerability. Katz has been painting portraits of his family and friends in New York since the 1950s; these are now seen as precursors of Pop Art. Often grand in scale, they have a slick finish and detached manner with undercurrents of melancholia. Small oil paintings such as this one are sketched from life and often intended to be scaled up into larger works, but their economic execution and visible brushstrokes reveal an intimate side to his practice. He says, \"A sketch is very direct. It is working empirically, inside of an idea.\"\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: expressive", "adults", "body", "clothing and personal items", "head / face", "individuals: female", "jumper", "Kate", "named individuals", "objects", "people", "portraits", "smiling", "woman" ]

null

false

177 93 88 615 20117 7278 20114 2155 167

false

artwork

Oil paint on hardboard

[ { "append_role_to_name": false, "date": "born 1927", "fc": "Alex Katz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alex-katz-1386" } ]

3,385

[ { "id": 1000007, "shortTitle": "Portraits" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,996

Vincent

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00020

{ "id": 6, "meta": { "type": "art.Classification" } }

7015822 7007567 1002551 7007568 7012149

Alex Katz

1,996

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false

1

https://media.tate.org.u…R/AR00020_10.jpg

1386

painting oil paint hardboard

[ { "artistRoomsTour": true, "dateText": "14 March 2009 – 8 November 2009", "endDate": "2009-11-08", "exhibitionLegs": [ { "dateText": "12 March 2009 – 8 November 2009", "endDate": "2009-11-08", "id": 4995, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4192, "startDate": "2009-03-14", "title": "ARTIST ROOMS Alex Katz", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "exhibitionLegs": [ { "dateText": "20 November 2010 – 12 March 2011", "endDate": "2011-03-12", "id": 5397, "startDate": "2010-11-20", "venueName": "Oriel Mostyn (Llandudno, UK)", "venueWebsiteUrl": "http://www.mostyn.org/home.php?/Home" } ], "id": 4525, "startDate": "2010-11-20", "title": "ARTIST ROOMS 2010: Alex Katz", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "exhibitionLegs": [ { "dateText": "26 March 2011 – 4 June 2011", "endDate": "2011-06-04", "id": 6169, "startDate": "2011-03-26", "venueName": "Pier Arts Centre (Stromness, UK)", "venueWebsiteUrl": "http://www.pierartscentre.com/" } ], "id": 5039, "startDate": "2011-03-26", "title": "ARTIST ROOMS 2011: Alex Katz & Cy Twombly", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 October 2012 – 31 January 2013", "endDate": "2013-01-31", "exhibitionLegs": [ { "dateText": "1 October 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 6966, "startDate": "2012-10-01", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 5683, "startDate": "2012-10-01", "title": "Alex Katz: Give me tomorrow", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "exhibitionLegs": [ { "dateText": "30 March 2019 – 16 June 2019", "endDate": "2019-06-16", "id": 13004, "startDate": "2019-03-30", "venueName": "Tullie House Museum and Art Gallery Trust (Carlisle, UK)", "venueWebsiteUrl": null } ], "id": 10706, "startDate": "2019-03-30", "title": "ARTIST ROOMS 2019: Alex Katz", "type": "Tate partnerships & programmes" } ]

Vincent

1,996

ARTIST ROOMS Tate and National Galleries of Scotland

1996

CLEARED

6

frame: 318 × 165 × 34 mm support: 300 × 147 × 4 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "adults", "branch", "clothing and personal items", "individuals: male", "man", "named individuals", "objects", "people", "portraits", "shirt", "Vincent" ]

null

false

1832 88 20118 195 20114 4712

false

artwork

Boat and painted wall text

[ { "append_role_to_name": false, "date": "1925–2006", "fc": "Ian Hamilton Finlay", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ian-hamilton-finlay-1093" } ]

3,386

[ { "id": 1000003, "shortTitle": "Text and Language" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,996

<a href="https://www.tate.org.uk/art/artists/ian-hamilton-finlay-1093" aria-label="More by Ian Hamilton Finlay" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ian Hamilton Finlay</a>

Sailing Dinghy

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00021

{ "id": 3, "meta": { "type": "art.Classification" } }

7006630 1008328 7005332 7017283 7019097 7002444 7008591

Ian Hamilton Finlay

1,996

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false

1

https://media.tate.org.u…R/AR00021_10.jpg

1093

installation boat painted wall text

[ { "artistRoomsTour": true, "dateText": "2 March 2009 – 28 February 2010", "endDate": "2010-02-28", "exhibitionLegs": [ { "dateText": "2 March 2009 – 28 February 2010", "endDate": "2010-02-28", "id": 4882, "startDate": "2009-03-02", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4087, "startDate": "2009-03-02", "title": "Ian Hamilton Finlay", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "27 March 2010 – 4 July 2010", "endDate": "2010-07-04", "exhibitionLegs": [ { "dateText": "27 March 2010 – 4 July 2010", "endDate": "2010-07-04", "id": 5435, "startDate": "2010-03-27", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4552, "startDate": "2010-03-27", "title": "ARTIST ROOMS Ian Hamilton Finlay", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "30 August 2010 – 30 October 2010", "endDate": "2010-10-30", "exhibitionLegs": [ { "dateText": "30 August 2010 – 30 October 2010", "endDate": "2010-10-30", "id": 5396, "startDate": "2010-08-30", "venueName": "An Lanntair (Stornoway, UK)", "venueWebsiteUrl": "http://www.lanntair.com/" } ], "id": 4523, "startDate": "2010-08-30", "title": "ARTIST ROOMS 2010: Ian Hamilton-Finlay", "type": "Loan-out" } ]

Sailing Dinghy

1,996

ARTIST ROOMS Tate and National Galleries of Scotland

1996

CLEARED

3

displayed: 6020 × 4400 × 1400 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Boats and the sea were central themes throughout Finlay’s career. 'Sailing Dinghy' comprises a clinker-built, sailing boat, which the artist himself sailed, installed alongside a short poem painted onto the wall. The dinghy’s bow, sails, rudder and stern are labelled with numbers referenced in the poem. The poem’s simple phrases evoke the power and movement of the vessel, encouraging the viewer to make a mental voyage from gallery to sea. The now static and landlocked vessel provides a contrast to this flight of imagination with its stillness and physical presence.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "boat, sailing", "Finlay, Ian Hamilton, poem", "inscriptions", "leisure and pastimes", "literature and fiction", "literature (not Shakespeare)", "poem", "recreational activities", "sailing", "society", "symbols and personifications", "transport: water" ]

null

false

1865 166 58 1571 52 17764 161

false

artwork

Pigment on glass

[ { "append_role_to_name": false, "date": "born 1932", "fc": "Gerhard Richter", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gerhard-richter-1841" } ]

3,387

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1,991

<a href="https://www.tate.org.uk/art/artists/gerhard-richter-1841" aria-label="More by Gerhard Richter" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gerhard Richter</a>

Mirror Painting Grey 7352

2,008

Spiegel, Grau (735-2)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00022

{ "id": 7, "meta": { "type": "art.Classification" } }

7004455 7003721 7003685 7000084

Gerhard Richter

1,991

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false

1

https://media.tate.org.u…R/AR00022_10.jpg

1841

relief pigment glass

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Mirror Painting (Grey, 735-2)

1,991

ARTIST ROOMS Tate and National Galleries of Scotland

1991

CLEARED

7

support: 2800 × 1648 × 45 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Although Richter is, in many respects, a very traditional painter, and revels in all the things paint can do – render images of reality, create luscious concoctions of colour – he also has a strong cerebral, radical element to his make-up. Although still concerned with looking and looking through a rectangular, window-like frame – much as his figurative or abstract paintings – Richter’s panes of glass and mirrors, that he has continued to make from 1967 to today, have affinities with Conceptual Art, and even with Marcel Duchamp’s Dada works. This mirror, coloured grey by the pigment attached to the back of the glass, resembles Richter’s earlier ‘black and white’, photographic paintings, since the reality one sees reflected in its surface is grey, but also his monochrome grey canvases of the early 1970s.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "architecture", "bench", "door", "features", "furnishings", "interiors", "mirror", "museum", "natural phenomena", "objects", "public and municipal", "reflection" ]

null

false

1635 971 17 82 1078 8634 70 44 1731

false

artwork

Pigment on glass

[ { "append_role_to_name": false, "date": "born 1932", "fc": "Gerhard Richter", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gerhard-richter-1841" } ]

3,388

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1,991

<a href="https://www.tate.org.uk/art/artists/gerhard-richter-1841" aria-label="More by Gerhard Richter" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gerhard Richter</a>

Corner Mirror brownblue 7371 7372

2,008

Eckspiegel, braun-blau (737-1, 737-2)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00023

{ "id": 6, "meta": { "type": "art.Classification" } }

7004455 7003721 7003685 7000084

Gerhard Richter

1,991

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false

1

https://media.tate.org.u…R/AR00023_10.jpg

1841

painting pigment glass

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Corner Mirror, brown-blue (737-1, 737-2)

1,991

ARTIST ROOMS Tate and National Galleries of Scotland

1991

CLEARED

6

unconfirmed, each: 2250 × 1000 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "colour", "furnishings", "mirror", "natural phenomena", "non-representational", "objects", "reflection" ]

null

false

225 82 1078 70 185 1731

false

artwork

Pigment on glass

[ { "append_role_to_name": false, "date": "born 1932", "fc": "Gerhard Richter", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gerhard-richter-1841" } ]

3,389

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1,991

<a href="https://www.tate.org.uk/art/artists/gerhard-richter-1841" aria-label="More by Gerhard Richter" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gerhard Richter</a>

Corner Mirror greenred 7372 A 7372 B

2,008

Eckspiegel, grun-rot (727-2 A, 737-2 B)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00024

{ "id": 6, "meta": { "type": "art.Classification" } }

7004455 7003721 7003685 7000084

Gerhard Richter

1,991

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false

1

https://media.tate.org.u…R/AR00024_10.jpg

1841

painting pigment glass

[ { "artistRoomsTour": true, "dateText": "28 August 2009 – 15 November 2009", "endDate": "2009-11-15", "exhibitionLegs": [ { "dateText": "28 August 2009 – 15 November 2009", "endDate": "2009-11-15", "id": 4918, "startDate": "2009-08-28", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 4119, "startDate": "2009-08-28", "title": "Gerhard Richter: Modern Times", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "6 September 2014 – 6 December 2014", "endDate": "2014-12-06", "exhibitionLegs": [ { "dateText": "6 September 2014 – 6 December 2014", "endDate": "2014-12-06", "id": 8854, "startDate": "2014-09-06", "venueName": "Dick Institute (Kilmarnock, UK)", "venueWebsiteUrl": "http://www.east-ayrshire.gov.uk/comser/arts_museums/venues.asp" } ], "id": 7253, "startDate": "2014-09-06", "title": "ARTIST ROOMS 2014: Gerhard Richter", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "12 May 2018 – 18 August 2018", "endDate": "2018-08-18", "exhibitionLegs": [ { "dateText": "12 May 2018 – 18 August 2018", "endDate": "2018-08-18", "id": 11194, "startDate": "2018-05-12", "venueName": "John Hansard Gallery (Southampton, UK)", "venueWebsiteUrl": "http://www.soton.ac.uk/~hansard/" } ], "id": 9217, "startDate": "2018-05-12", "title": "ARTIST ROOMS 2017: Gerhard Richter", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "8 October 2025 – 31 March 2026", "endDate": "2026-03-31", "exhibitionLegs": [ { "dateText": "8 October 2025 – 31 March 2026", "endDate": "2026-03-31", "id": 16233, "startDate": "2025-10-08", "venueName": "Fondation Louis Vuitton Pour La Création (Paris, France)", "venueWebsiteUrl": null } ], "id": 13317, "startDate": "2025-10-08", "title": "Gerhard Richter: Sixty Years", "type": "Loan-out" } ]

Corner Mirror, green-red (737-2 A, 737-2 B)

1,991

ARTIST ROOMS Tate and National Galleries of Scotland

1991

CLEARED

6

unconfirmed, each: 2250 × 1000 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "colour", "furnishings", "mirror", "natural phenomena", "non-representational", "objects", "reflection" ]

null

false

225 82 1078 70 185 1731

false

artwork

48 photographs, black and white, on paper between perspex and aluminium board

[ { "append_role_to_name": false, "date": "born 1932", "fc": "Gerhard Richter", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gerhard-richter-1841" } ]

3,390

[ { "id": 1000007, "shortTitle": "Portraits" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,971

<a href="https://www.tate.org.uk/art/artists/gerhard-richter-1841" aria-label="More by Gerhard Richter" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gerhard Richter</a>

48 Portraits

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00025

{ "id": 4, "meta": { "type": "art.Classification" } }

7004455 7003721 7003685 7000084

Gerhard Richter

1,971

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Gerhard Richter’s 48 Portraits is a series of forty-eight black and white photographs. The photographs are facsimiles of Richter’s 1972 series of oil paintings of the same name. The photographs and original paintings feature portraits of forty-eight men. There is a slight variation in the scale of the figures depicted, but in every image only the head and neck of the subject is portrayed. All of the subjects are dressed formally and in many cases the collars of their shirts and jackets are evident. In just over half of the portraits the top of a necktie is also visible, and thirteen of the subjects are depicted wearing glasses. The original oil paintings were intended to resemble soft-focus, black and white photographs. As a result, the complexions of the forty-eight individuals portrayed appear uniform. Subjects of the portraits include, amongst others, Albert Einstein, Ilich Tchaikovsky, Oscar Wilde, Thomas Mann, and Franz Kafka. The subjects, all born between 1824 and 1904, are white central European and North American males prominent in the fields of literature, science, philosophy, and music. The portraits were originally presented in a row and ordered according to the orientation of the figures’ heads. The gazes were arranged facing from the centre to the left and from the centre to the right, with the only portrait portraying a figure facing directly forward – that of Franz Kafka – situated in the centre.

false

1

https://media.tate.org.u…R/AR00025_10.jpg

1841

paper print 48 photographs black white between perspex aluminium board

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48 Portraits

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ARTIST ROOMS Tate and National Galleries of Scotland

1971–98

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nGerhard Richter’s 48 Portraits is a series of forty-eight black and white photographs. The photographs are facsimiles of Richter’s 1972 series of oil paintings of the same name. The photographs and original paintings feature portraits of forty-eight men. There is a slight variation in the scale of the figures depicted, but in every image only the head and neck of the subject is portrayed. All of the subjects are dressed formally and in many cases the collars of their shirts and jackets are evident. In just over half of the portraits the top of a necktie is also visible, and thirteen of the subjects are depicted wearing glasses. The original oil paintings were intended to resemble soft-focus, black and white photographs. As a result, the complexions of the forty-eight individuals portrayed appear uniform. Subjects of the portraits include, amongst others, Albert Einstein, Ilich Tchaikovsky, Oscar Wilde, Thomas Mann, and Franz Kafka. The subjects, all born between 1824 and 1904, are white central European and North American males prominent in the fields of literature, science, philosophy, and music. The portraits were originally presented in a row and ordered according to the orientation of the figures’ heads. The gazes were arranged facing from the centre to the left and from the centre to the right, with the only portrait portraying a figure facing directly forward – that of Franz Kafka – situated in the centre.\nThe original paintings were completed for the German Pavilion at the 1972 Venice Biennale following the artist’s nomination as Germany’s representative. Though originally reluctant to participate in the Biennale, Richter decided that the architecture of the German Pavilion – which was reconstructed in 1938 and reflects the architecture of National Socialist Germany – was ideal for his project. He has stated that were it not for the neoclassical architecture of the pavilion, 48 Portraits would not exist: ‘The plan to paint 48 Portraits [was] very old … When I received the invitation to go to Venice, it was immediately clear … that the spatial conditions were ideal for this work. Without this opportunity, I probably never would have painted them’ (quoted in Elger 2002, p.194). Beginning with 288 photographs cut out and collected from encyclopaedias and dictionaries, Richter narrowed down his selection to forty-eight individuals.\nThe final selection omits politicians, artists, religious figures, representatives of business and commerce, and women. The decision to exclude visual artists derived from Richter’s desire to avoid the suggestion that he was commenting on his own artistic pedigree (see Elger 2002, p.194). Likewise politicians were omitted to discourage the attachment of ideological content to the work by critics. However, other images originally included in Richter’s selection, particularly those of the women, were discarded on the grounds of aesthetic and conceptual uniformity. Regarding the images chosen, Richter has stated: ‘I was attached to the idea of making them as natural as possible, while at the same time making the series as homogeneous as possible – the same size, tone, colour, etc.’ (Quoted in Elger and Obrist 2009, p.79.) All 288 photographs were collected in Richter’s scrapbook, published for the first time in 1972 under the title Atlas (sheets 30–7).\nFor the original portraits Richter used an episcope or visualizer, which projected the smaller original photographs onto larger canvases, before tracing the contours of the figures onto the canvas directly from the projection (Elger and Obrist 2009, p.62). Richter used a dry brush on a canvas with a wet surface, thereby reducing the visibility of brushstrokes and creating the impression of an out-of-focus photograph. Richter has called this soft-focus style ‘Vermalung’, which might be loosely translated ‘inpainting’ (Elger 2002, p.195). Richter’s term describes, as he puts it, the ‘feathering that disrupts the clarity and distinction of forms and figures’ (quoted in Elger 2002, p.195). The result of this stylistic decision is the diminishment of the individuality of the sitter in each portrait. In 1998 Richter photographed the original portraits and made four copies, three of which can now be found in the collections of ARTIST ROOMS, the Museu D’Art Contemporani de Barcelona and the San Francisco Museum of Modern Art. The original paintings are part of the permanent collection of the Museum Ludvig in Cologne, Germany.\nThough there has been a tendency to interpret 48 Portraits biographically, Richter’s deliberate homogenisation of the subject matter suggests the artist wanted to limit the significance of the particular individuals portrayed. Richter has said of this series: ‘I am interested in the speechless language of these pictures. Heads, even if they are full of literature and philosophy, become quite unliterary. Literature is invalidated; the personalities become anonymous. That's what is important to me here’ (quoted in Elger and Obrist 2009, p.63). Though adamant that the 48 Portraits hold no personal meaning, Richter does admit to working with the concept of national identity in 48 Portraits. In a 2002 interview with the curator Robert Storr, the artist identified the ‘father problem’ – or rather the absence of the father figure – as typically German, saying: ‘That is the reason for such agitation; that is why this work has such a disquieting effect’ (quoted in Storr, ‘MoMA interview with Robert Storr, 2002’, in Elger and Obrist 2009, p.422).\n\nFurther reading\n Dietmar Elger, Gerhard Richter: A Life in Painting, trans. by Elizabeth M. Solaro, London 2002, pp.193–201. Dietmar Elger and Hans Ulrich Obrist (eds.), Gerhard Richter: Text: Writings, Interviews and Letters, 1961–2007, London 2009, pp.62, 79, and 420–2. Paul Moorhouse, Gerhard Richter Portraits: Painting Appearances, exhibition catalogue, National Portrait Gallery, London 2009, pp.88–90.\nColleen Carroll The University of Edinburgh November 2013\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "This is one of four photographic sets of ’48 Portraits’ that Richter made in 1998. It is based on the paintings of the same title that he made for the German Pavilion in the 1972 Venice Biennale. Richter had long had the idea of painting a series of famous men; being nominated to represent Germany and show in the neo-classical building in Venice gave Richter the opportunity he needed. Richter based his painting on the black and white photographic images of famous men of letters, philosophers and scientists that he found in various encyclopaedia and dictionaries. The men (controversially, there are no women) are European and North American. They represent a broadly humanistic view of Western civilisation. Richter avoided artists, because he did not wish to set up a canon of his artistic forefathers. He has simplified the backgrounds and, to some extent, the figures, so that they have as much formal similarity as possible.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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11 Scheiben (886-5)

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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11 Panes

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ARTIST ROOMS Tate and National Galleries of Scotland

2004

CLEARED

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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Abstraktes Bild (809-3)

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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Abstract Painting (809-3)

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ARTIST ROOMS Tate and National Galleries of Scotland

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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Abstraktes Bild (Haut) (887-3)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00028

{ "id": 6, "meta": { "type": "art.Classification" } }

7004455 7003721 7003685 7000084

Gerhard Richter

2,004

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false

1

https://media.tate.org.u…R/AR00028_10.jpg

1841

painting oil paint canvas

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Abstract Painting (Skin) (887-3)

2,004

ARTIST ROOMS Tate and National Galleries of Scotland

2004

CLEARED

6

support: 2300 × 2049 × 68 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "abstraction", "blur", "emotions, concepts and ideas", "formal qualities", "irregular forms", "monochromatic", "non-representational" ]

null

false

8482 796 9663 185

false

artwork

Oil paint on aluminium

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3,394

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2,002

<a href="https://www.tate.org.uk/art/artists/gerhard-richter-1841" aria-label="More by Gerhard Richter" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gerhard Richter</a>

Abstract Painting Silicate 8804

2,008

Abstraktes Bild (Silikat) (880-4)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00029

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Gerhard Richter

2,002

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false

1

https://media.tate.org.u…R/AR00029_10.jpg

1841

painting oil paint aluminium

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Abstract Painting (Silicate) (880-4)

2,002

ARTIST ROOMS Tate and National Galleries of Scotland

2002

CLEARED

6

support: 2204 × 1544 × 55 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "abstraction", "blur", "emotions, concepts and ideas", "formal qualities", "geometric", "monochromatic", "non-representational", "pattern" ]

null

false

8482 226 9663 185 40568

false

artwork

Oil paint on aluminium

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3,395

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2,002

<a href="https://www.tate.org.uk/art/artists/gerhard-richter-1841" aria-label="More by Gerhard Richter" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gerhard Richter</a>

Abstract Painting Grey 8803

2,008

Abstraktes Bild (Grau) (880-3)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00030

{ "id": 6, "meta": { "type": "art.Classification" } }

7004455 7003721 7003685 7000084

Gerhard Richter

2,002

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false

1

https://media.tate.org.u…R/AR00030_10.jpg

1841

painting oil paint aluminium

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Abstract Painting (Grey) (880-3)

2,002

ARTIST ROOMS Tate and National Galleries of Scotland

2002

CLEARED

6

support: 2204 × 1544 × 55 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "When, in the early 1980s, Richter began to develop an abstract way of painting that avoided overt expression and subjectivity, he chose to paint exclusively in grey. Grey was neutral, grey was neither positive nor negative, grey was perhaps even dull. At various times since then, Richter has returned to using grey when he was attempting something new and did not want the added complications of colour. In the early 2000s, he began to explore ways of looking behind appearances by using scientific principles and discoveries. This painting is part of that group of works.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "blur", "emotions, concepts and ideas", "formal qualities", "gestural", "monochromatic", "non-representational" ]

null

false

8482 227 9663 185

false

artwork

Oil paint on canvas

[ { "append_role_to_name": false, "date": "born 1938", "fc": "Georg Baselitz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/georg-baselitz-699" } ]

3,396

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1,989

<a href="https://www.tate.org.uk/art/artists/georg-baselitz-699" aria-label="More by Georg Baselitz" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Georg Baselitz</a>

Folkdance Melancholia

2,008

Volkstanz Marode

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00031

{ "id": 6, "meta": { "type": "art.Classification" } }

431 432

7003685 7000084

Georg Baselitz

1,989

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false

1

https://media.tate.org.u…R/AR00031_10.jpg

699

painting oil paint canvas

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Folkdance Melancholia

1,989

ARTIST ROOMS Tate and National Galleries of Scotland

1989

CLEARED

6

support: 2504 × 2510 × 58 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "This is one of a series of paintings that Baselitz painted in the first half of 1989, with the generic title of ‘Streubilder’ (or ‘Scatter Paintings’) or ‘Ciao America’. ‘Scatter Paintings’ describes the lack of a compositional focus in works like ‘Volkstanz Marode’. Its ‘pattern’ of tiles and heads is reminiscent of the all-over quality of American Abstract Expressionism, but the primitivist style and reference to folkdance are unapologetically European. Baselitz was at the forefront of European Neo-Expressionist painting from the 1960s onwards, which enjoyed massive popularity in the 1980s, and caused some to see European art eclipsing American art at the time. Ciao America!\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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null

false

10063 221 189 18193 19508 222 53 57

false

artwork

Oil paint on canvas

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3,397

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1,989

<a href="https://www.tate.org.uk/art/artists/georg-baselitz-699" aria-label="More by Georg Baselitz" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Georg Baselitz</a>

Where is Yellow Milkjug Mrs Bird

2,008

Wo ist der gelbe Milchkrug, Frau Vogel?

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00032

{ "id": 6, "meta": { "type": "art.Classification" } }

431 432

7003685 7000084

Georg Baselitz

1,989

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false

1

https://media.tate.org.u…R/AR00032_10.jpg

699

painting oil paint canvas

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Where is the Yellow Milkjug, Mrs Bird?

1,989

ARTIST ROOMS Tate and National Galleries of Scotland

1989

CLEARED

6

support: 2504 × 2505 × 55 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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artwork

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3,398

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<a href="https://www.tate.org.uk/art/artists/ron-mueck-2672" aria-label="More by Ron Mueck" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ron Mueck</a>

Spooning Couple

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00033

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Ron Mueck

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Spooning Couple is a sculpture by Australian artist Ron Mueck representing a man and woman lying down together. Both figures have a light skin tone and are semi-naked. The figures are represented with a high degree of realism apart from their scale, which is approximately half life-size. They are displayed on a low plinth so that the viewer sees them from above. The couple lie in a spooning position: both figures lie on their right-hand side facing in the same direction, with the woman lying in a slight foetal position while the man lies behind her, his body curled next to hers. The man wears an off-white T-shirt and is naked from the waist down. He lies with his right arm bent under his head and his left arm bent up to his chest. His pale brown straight hair hangs limp around his face and his gaze is cast slightly downward. The woman is naked from the waist up and wears grey knickers. Both of her arms are drawn up close to her body with her right hand pressed lightly against her mouth. Her straight brown hair falls under her head with one strand falling loose. The woman's eyes are also open and she looks slightly downwards.

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https://media.tate.org.u…R/AR00033_10.jpg

2672

sculpture mixed media

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Spooning Couple

2,005

ARTIST ROOMS Tate and National Galleries of Scotland

2005

CLEARED

8

plinth: 690 × 827 × 624 mm, 20 kg displayed: 1165 × 1040 × 790 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSpooning Couple is a sculpture by Australian artist Ron Mueck representing a man and woman lying down together. Both figures have a light skin tone and are semi-naked. The figures are represented with a high degree of realism apart from their scale, which is approximately half life-size. They are displayed on a low plinth so that the viewer sees them from above. The couple lie in a spooning position: both figures lie on their right-hand side facing in the same direction, with the woman lying in a slight foetal position while the man lies behind her, his body curled next to hers. The man wears an off-white T-shirt and is naked from the waist down. He lies with his right arm bent under his head and his left arm bent up to his chest. His pale brown straight hair hangs limp around his face and his gaze is cast slightly downward. The woman is naked from the waist up and wears grey knickers. Both of her arms are drawn up close to her body with her right hand pressed lightly against her mouth. Her straight brown hair falls under her head with one strand falling loose. The woman's eyes are also open and she looks slightly downwards.\n\nSpooning Couple was made in 2005 according to the same method Mueck consistently employs to create his sculptures. The artist begins with drawings before creating small maquettes made from plaster or clay to refine his ideas. The maquettes are gradually scaled up to create a full-sized, detailed clay model of the work. From this clay model Mueck makes a series of mould sections in order to cast the sculpture in fibreglass. The fibreglass sculpture is then painted and the hair is applied, with each strand inserted individually into the polyester resin. The last detail added to the sculptures are the eyes. Spooning Couple, like all Mueck's sculptures, is rendered with hyper-realistic detail, noticeable from the texture of the skin to the careful placement of individual hairs. Before working as an artist Mueck was a puppet and prop maker for television and film, where he developed his precise techniques. Prior to Spooning Couple Mueck had only made one sculpture that included more than one figure, Mother and Child 2001 (Museum Brandhorst, Munich). In 2005, however, he made Spooning Couple and another sculpture which features two figures, Two Women 2005 (National Gallery of Victoria, Melbourne).\nThe position adopted by this couple would usually convey affection. However, there appears to be tension between the two figures. Originally the artist had considered draping the man's left arm around the woman's waist. Instead, he retracted the arm, leaving the man holding it close to his own body. As the curator Keith Hartley has observed, ‘by moving [the arm] away, he altered the whole relationship between the couple’ (Hartley 2006, p.10). Moreover, the facial expressions of both figures also suggest that they are, as Hartley has said, ‘deep in their own separate worlds’ (Hartley 2006, p.10).\nMueck frequently experiments with the scale of his sculptures. Some works are larger than actual size, such as Wild Man 2005 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mueck-wild-man-ar00034\" title=\"View the details of this artwork\">AR00034</a>), while others, including Spooning Couple, are on a much smaller scale. The art historian Rachel Wells has noted that, in the case of this work, the small scale allows the underlying anxiety and tension between the man and woman to be more effectively portrayed: ‘the exaggeration in terms of scale accompanies the outward expression of inner loss of “proper” proportions’ (Wells 2013, p.46). By altering scale Mueck also gives the sculpture more of an emotional and physiological impact. As the artist has remarked: ‘it makes you take notice in a way that you wouldn't do with something that's just normal’ (quoted in Tanguy 2003, accessed 10 December 2014).\n\nFurther reading\n Sarah Tanguy, ‘The Progress Big Man: A Conversation with Ron Mueck’, Sculpture: A Publication of the International Sculpture Centre, vol.22, no.6, July/August 2003, <a href=\"http://www.sculpture.org /documents/scmag03/jul_aug03/mueck/mueck.shtml\">http://www.sculpture.org /documents/scmag03/jul_aug03/mueck/mueck.shtml</a>, accessed 10 December 2014. \nRon Mueck, exhibition catalogue, Royal Scottish Academy, Edinburgh 2006. Rachel Wells, Scale in Contemporary Sculpture: Enlargement, Miniaturisation and the Life-Size, London 2013.\nSusan Mc Ateer University of Edinburgh February 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Presenting a psychological drama is one of Mueck’s chief aims in creating his sculptures. This is nowhere better seen than in ‘Spooning Couple’. The figures are lying together on a low plinth so that we look down on them from a bird’s eye perspective. The man, naked from the waist down, and the woman, naked from the waist up, are lying together, almost in a foetal position, her body fitting into the hollow of his – like spoons. They may be ‘spooning’ in a literal way, but they are in anything but a warm, loving embrace. Their expressions show them to be deep in their own separate worlds. The man almost catches our gaze in complicit acknowledgement that the bond between them seems to have broken down.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Wild Man

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00034

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Ron Mueck

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Wild Man is a sculpture by Australian artist Ron Mueck of a large naked man sitting on a stool. The man has a light skin tone and is represented with a high degree of realism apart from his scale, which is larger than life-size. Measuring nearly three metres in height in his seated position, the man sits on the edge of a wooden stool with his back and arms straight and his hands gripping the sides of the stool. His shoulders are raised up to his ears while his toes press into the floor with his heels elevated. The man has long brown unkempt shoulder-length hair and a dark bushy beard. His body is brushed with hair, including his chest, arms, legs and genitals. The man looks slightly downward to the right with his face contorted in a tense expression.

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https://media.tate.org.u…R/AR00034_10.jpg

2672

sculpture mixed media

[ { "artistRoomsTour": true, "dateText": "28 August 2009 – 31 October 2009", "endDate": "2009-10-31", "exhibitionLegs": [ { "dateText": "28 August 2009 – 31 October 2009", "endDate": "2009-10-31", "id": 4970, "startDate": "2009-08-28", "venueName": "Aberdeen Art Gallery (Aberdeen, UK)", "venueWebsiteUrl": "http://www.aagm.co.uk" } ], "id": 4166, "startDate": "2009-08-28", "title": "ARTIST ROOMS 2009: Ron Mueck", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "4 February 2010 – 11 April 2010", "endDate": "2010-04-11", "exhibitionLegs": [ { "dateText": "4 February 2010 – 11 April 2010", "endDate": "2010-04-11", "id": 5345, "startDate": "2010-02-04", "venueName": "Manchester Art Gallery (Manchester, UK)", "venueWebsiteUrl": "http://www.manchestergalleries.org" } ], "id": 4478, "startDate": "2010-02-04", "title": "ARTIST ROOMS 2010: Ron Mueck", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 May 2010 – 26 September 2010", "endDate": "2010-09-26", "exhibitionLegs": [ { "dateText": "1 May 2010 – 26 September 2010", "endDate": "2010-09-26", "id": 5405, "startDate": "2010-05-01", "venueName": "English Heritage (Belsay Hall, Northumberland)", "venueWebsiteUrl": null } ], "id": 4532, "startDate": "2010-05-01", "title": "Extraordinary Measures", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "20 July 2013 – 2 November 2013", "endDate": "2013-11-02", "exhibitionLegs": [ { "dateText": "20 July 2013 – 2 November 2013", "endDate": "2013-11-02", "id": 7992, "startDate": "2013-07-20", "venueName": "Wolverhampton Art Gallery (Wolverhampton, UK)", "venueWebsiteUrl": "http://www.wolverhamptonart.org.uk" } ], "id": 6554, "startDate": "2013-07-20", "title": "ARTIST ROOMS 2013: Ron Mueck", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "5 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "5 November 2016 – 5 February 2017", "endDate": "2017-02-05", "id": 9876, "startDate": "2016-11-05", "venueName": "Art Gallery of New South Wales (Sydney, Australia)", "venueWebsiteUrl": "http://www.artgallery.nsw.gov.au" } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": true, "dateText": "22 April 2017 – 13 August 2017", "endDate": "2017-08-13", "exhibitionLegs": [ { "dateText": "22 April 2017 – 13 August 2017", "endDate": "2017-08-13", "id": 10822, "startDate": "2017-04-22", "venueName": "Ferens Art Gallery (Hull, UK)", "venueWebsiteUrl": "http://www.hullcc.gov.uk/museumcollections" } ], "id": 8924, "startDate": "2017-04-22", "title": "ARTIST ROOMS 2017: Ron Mueck", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "29 June 2024 – 17 November 2024", "endDate": "2024-11-17", "exhibitionLegs": [ { "dateText": "29 June 2024 – 17 November 2024", "endDate": "2024-11-17", "id": 15839, "startDate": "2024-06-29", "venueName": "Voorlinden (Wassenaar, Netherlands)", "venueWebsiteUrl": null } ], "id": 12997, "startDate": "2024-06-29", "title": "Ron Mueck", "type": "Loan-out" } ]

Wild Man

2,005

ARTIST ROOMS Tate and National Galleries of Scotland

2005

CLEARED

8

displayed: 2850 × 1619 × 1080 mm weight: 107.5 Kilograms

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nWild Man is a sculpture by Australian artist Ron Mueck of a large naked man sitting on a stool. The man has a light skin tone and is represented with a high degree of realism apart from his scale, which is larger than life-size. Measuring nearly three metres in height in his seated position, the man sits on the edge of a wooden stool with his back and arms straight and his hands gripping the sides of the stool. His shoulders are raised up to his ears while his toes press into the floor with his heels elevated. The man has long brown unkempt shoulder-length hair and a dark bushy beard. His body is brushed with hair, including his chest, arms, legs and genitals. The man looks slightly downward to the right with his face contorted in a tense expression.\n\nWild Man is made from polyester resin, fibreglass, silicone, aluminium, wood and synthetic hair. It was made in 2005 according to the same method Mueck consistently employs to create his sculptures. The artist begins with drawings before creating small clay or plaster maquettes to refine his ideas. The maquettes are gradually scaled up to create a full-sized, detailed clay model of the work. From this clay model Mueck creates a series of mould sections in order to cast the sculpture in fibreglass. The fibreglass sculpture is then painted and hair is applied. Although the artist tends to use real hair for his smaller figures, for Wild Man acrylic fibre hair was used. The last detail added to the sculptures are the eyes. Like all Mueck's sculptures, Wild Man is rendered with hyper-realistic detail, noticeable from the texture of the skin to the careful placement of individual hairs. Before working as an artist Mueck was a puppet and prop maker for television and film, where he developed his precise techniques.\nMueck initially planned to make a figure who appeared confined, as if backed into a corner, but decided to make Wild Man after seeing an illustration of the colossal stone sculpture Appennino 1579–80 (Villa di Pratolino, Vaglia, Italy) by the late Renaissance artist Giambologna. Appennino depicts a crouching hirsute river god, which inspired the oversized hairy ‘wild man’ of Mueck’s sculpture. The critic Anne Cranny-Francis notes that a wild man tends to be a reclusive individual afraid of human society and that this ‘might explain why [Mueck’s] large male figure – in one sense, the very image of the powerful white male – grips his chair, body rigid with tension, and stares over the heads of viewers in a paroxysm of fear’ (Cranny-Francis 2013, p.6). The man’s nakedness adds to this sense of vulnerability, making him both physically and emotionally exposed.\nMueck’s sculptures frequently experiment with scale. Some works are smaller than actual size, such as Spooning Couple 2005 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mueck-spooning-couple-ar00033\" title=\"View the details of this artwork\">AR00033</a>), while others, including Wild Man, are much larger than life-size. The artist has noted that he never makes life-size figures because ‘it never seemed to be interesting. We meet life-size people every day ... It [the size of the sculptures] makes you take notice in a way that you wouldn’t do with something that’s just normal.’ (Quoted in Tanguy 2003, accessed 10 December 2014.)\n\nFurther reading\n Sarah Tanguy, ‘The Progress Big Man: A Conversation with Ron Mueck’, Sculpture: A Publication of the International Sculpture Centre, vol.22, no.6, July/August 2003, <a href=\"http://www.sculpture.org/documents/scmag03/jul_aug03/mueck/mueck.shtml\">http://www.sculpture.org/documents/scmag03/jul_ag03/mueck/mueck.shtml</a>, accessed 10 December 2014. \nRon Mueck, exhibition catalogue, Royal Scottish Academy, Edinburgh 2006. Anne Cranny-Francis, ‘Sculpture as Deconstruction: The Aesthetic Practice of Ron Mueck’, Visual Communication, vol.12, no.1, February 2013, pp.2–25.\nSusan Mc Ateer University of Edinburgh February 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Although Mueck’s sculptures are astonishingly lifelike (despite their scale!), verisimilitude is not what ultimately matters to the artist, but the ends to which it is put. The artist wants us to believe that his figures are experiencing certain emotions and for us to empathise with these feelings. ‘Wild Man’ shows signs of extreme anxiety, even terror; he grips the stool and his toes press down onto the floor. The artist has made him look doubly vulnerable. Despite dwarfing us mere mortals who look at him – he is nearly three metres high – his state of ongoing fear elicits a sympathetic response from us. Instead of our feeling intimidated by him, he seems intimidated by us.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: postures and motions", "adults", "anxiety", "beard", "body", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "furnishings", "hair", "male", "man", "nudes", "objects", "people", "scale", "sitting", "stool", "vulnerability" ]

null

true

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artwork

Mixed media

[ { "append_role_to_name": false, "date": "born 1958", "fc": "Ron Mueck", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ron-mueck-2672" } ]

3,400

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,005

<a href="https://www.tate.org.uk/art/artists/ron-mueck-2672" aria-label="More by Ron Mueck" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ron Mueck</a>

Mask III

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00035

{ "id": 8, "meta": { "type": "art.Classification" } }

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7002445 7001933 7006238 7000490 1000006

Ron Mueck

2,005

[ { "archiveItemCount": 413, "id": 177, "level": 2, "name": "actions: expressive", "parent_id": 91, "workCount": 2209 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 513, "id": 1325, "level": 3, "name": "black", "parent_id": 179, "workCount": 283 }, { "archiveItemCount": 1628, "id": 93, "level": 2, "name": "body", "parent_id": 91, "workCount": 3250 }, { "archiveItemCount": 10, "id": 1712, "level": 3, "name": "Buddhism", "parent_id": 137, "workCount": 16 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 4241, "id": 179, "level": 2, "name": "ethnicity", "parent_id": 91, "workCount": 632 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 625, "id": 615, "level": 3, "name": "head / face", "parent_id": 93, "workCount": 1872 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 0, "id": 132, "level": 1, "name": "religion and belief", "parent_id": 1, "workCount": 2443 }, { "archiveItemCount": 1, "id": 137, "level": 2, "name": "religions", "parent_id": 132, "workCount": 180 }, { "archiveItemCount": 122, "id": 17629, "level": 3, "name": "scale", "parent_id": 6729, "workCount": 24 }, { "archiveItemCount": 70, "id": 2155, "level": 3, "name": "smiling", "parent_id": 177, "workCount": 221 } ]

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https://media.tate.org.u…R/AR00035_10.jpg

2672

sculpture mixed media

[ { "artistRoomsTour": true, "dateText": "28 August 2009 – 31 October 2009", "endDate": "2009-10-31", "exhibitionLegs": [ { "dateText": "28 August 2009 – 31 October 2009", "endDate": "2009-10-31", "id": 4970, "startDate": "2009-08-28", "venueName": "Aberdeen Art Gallery (Aberdeen, UK)", "venueWebsiteUrl": "http://www.aagm.co.uk" } ], "id": 4166, "startDate": "2009-08-28", "title": "ARTIST ROOMS 2009: Ron Mueck", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "4 February 2010 – 11 April 2010", "endDate": "2010-04-11", "exhibitionLegs": [ { "dateText": "4 February 2010 – 11 April 2010", "endDate": "2010-04-11", "id": 5345, "startDate": "2010-02-04", "venueName": "Manchester Art Gallery (Manchester, UK)", "venueWebsiteUrl": "http://www.manchestergalleries.org" } ], "id": 4478, "startDate": "2010-02-04", "title": "ARTIST ROOMS 2010: Ron Mueck", "type": "Loan-out" } ]

Mask III

2,005

ARTIST ROOMS Tate and National Galleries of Scotland

2005

CLEARED

8

object: 1550 × 1320 × 1130 mm, 57 kg

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "Mueck’s sculptures are so lifelike that we find it hard to believe that they are modelled and cast in the traditional way rather than cast from life, even though, as is the case with ‘Mask III’, it is many times the size of a human head.The work is highly idealised and made to have even rounder and more benign-looking features than those of a person it was based on. Shortly before he made 'Mask III', Mueck had visited an exhibition containing a number of sculptures of the Buddha, he attempted to capture some of the inner peace and serenity of these Buddhas. The head is as round and calming as a full moon. Its symmetry is enhanced by the lack of a body.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: expressive", "adults", "black", "body", "Buddhism", "emotions, concepts and ideas", "ethnicity", "formal qualities", "head / face", "man", "people", "religion and belief", "religions", "scale", "smiling" ]

null

false

177 1325 93 1712 179 615 195 137 17629 2155

false

artwork

Oil paint, shellac, emulsion and fibre on canvas

[ { "append_role_to_name": false, "date": "born 1945", "fc": "Anselm Kiefer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anselm-kiefer-1406" } ]

3,401

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999788, "shortTitle": "ARTIST ROOMS" }, { "id": 999999967, "shortTitle": "National Heritage Memorial Fund" }, { "id": 999999968, "shortTitle": "Art Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,983

<a href="https://www.tate.org.uk/art/artists/anselm-kiefer-1406" aria-label="More by Anselm Kiefer" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Anselm Kiefer</a>

Urd Verdandi Skuld Norns

2,008

Urd, Werdandi, Skuld (Die Nornen)

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00036

{ "id": 6, "meta": { "type": "art.Classification" } }

432

7005175 1003143 7003692 7000084

Anselm Kiefer

1,983

[]

Urd Werdande Skuld (The Norns) depicts a long, vaulted passageway with brick pilasters and flagstones lit by a fire that blazes at its centre. The strong perspective lines serve as a guide into the far recesses of the hall, which appears unending. Kiefer has inscribed the Norse title of this painting ‘Urd Werdande Skuld’ in spidery, scrawled text onto the ceiling of the interior using white chalk. This inscription refers to three female beings in Norse mythology that are thought to represent Past, Present and Future. These ‘fates’ are traditionally represented in a hall, spinning the threads of destiny beneath the branches of the Yggdrasil (‘life tree’). Although they are absent from the painting itself, their presence is suggested by the thread-like strings that hang from their names, the setting of the hall, and the associations of ‘time’ suggested by the passageway.

false

1

https://media.tate.org.u…R/AR00036_10.jpg

1406

painting oil paint shellac emulsion fibre canvas

[ { "artistRoomsTour": true, "dateText": "8 October 2010 – 16 January 2011", "endDate": "2011-01-16", "exhibitionLegs": [ { "dateText": "8 October 2010 – 16 January 2011", "endDate": "2011-01-16", "id": 5398, "startDate": "2010-10-08", "venueName": "BALTIC (Gateshead, UK)", "venueWebsiteUrl": "http://www.balticmill.com" } ], "id": 4526, "startDate": "2010-10-08", "title": "ARTIST ROOMS 2010: Anselm Kiefer", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "7 February 2015 – 7 June 2015", "endDate": "2015-06-07", "exhibitionLegs": [ { "dateText": "7 February 2015 – 7 June 2015", "endDate": "2015-06-07", "id": 9174, "startDate": "2015-02-07", "venueName": "Tullie House Museum and Art Gallery Trust (Carlisle, UK)", "venueWebsiteUrl": null } ], "id": 7538, "startDate": "2015-02-07", "title": "ARTIST ROOMS 2015: Anselm Kiefer", "type": "Loan-out" } ]

Urd, Verdandi, Skuld (The Norns)

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

6

support: 4205 × 2805 × 60 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUrd Werdande Skuld (The Norns) depicts a long, vaulted passageway with brick pilasters and flagstones lit by a fire that blazes at its centre. The strong perspective lines serve as a guide into the far recesses of the hall, which appears unending. Kiefer has inscribed the Norse title of this painting ‘Urd Werdande Skuld’ in spidery, scrawled text onto the ceiling of the interior using white chalk. This inscription refers to three female beings in Norse mythology that are thought to represent Past, Present and Future. These ‘fates’ are traditionally represented in a hall, spinning the threads of destiny beneath the branches of the Yggdrasil (‘life tree’). Although they are absent from the painting itself, their presence is suggested by the thread-like strings that hang from their names, the setting of the hall, and the associations of ‘time’ suggested by the passageway.\nComposed in a sombre palette and standing at over four meters high, Urd Werdande Skuld (The Norns) is an imposing painting, its scale emphasising the enormous interior space depicted within it. The painting combines a number of materials including plant fibres, leather strings, shellac, paper, white chalk and oil paint (applied with a brush and palette knife), fused and layered together. The densely textured and friable surface is so heavy that an additional linen canvas support is used to reinforce the back of the canvas. In keeping with his characteristic technique of using blowtorches to scold, blacken and fissure the surface of his paintings, this work shows signs of being deliberately burnt in places. Keifer has said that he scorches his paintings in order to ‘heal the imagery, to come to a raw stage, the nigredo’ (quoted in Auping 2005, p.36) – a state in alchemy, a subject of interest to the artist, that precedes transformation of base materials into gold.\nThe painting was completed in 1983 in the artist’s studio in Hornbach, Germany, in the Oden Forest. Kiefer described his studio as ‘a place to teach myself history’ (Auping 2005, p.35). Paintings that explore the studio’s hermetically-sealed wooden attic space include the series of Parsifal I 1973 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kiefer-parsifal-i-t03403\" title=\"View the details of this artwork\">T03403</a>), Parsifal II 1973 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kiefer-parsifal-ii-t03404\" title=\"View the details of this artwork\">T03404</a>) and Parsifal III (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kiefer-parsifal-iii-t03405\" title=\"View the details of this artwork\">T03405</a>), completed a decade before Urd Werdande Skuld (The Norns). In terms of its subject, however, this painting bears closest resemblance to works such as Heliogabal 1974–91, Gewölbe 1983 (Paul Maenz, Cologne) and Shulamite 1983 (Saatchi Collection, London), which portray similar vaulted passageways and use burning fires as focal points. \nThis cycle of canvases depicting monumental architectural spaces was largely based on photographs and documentation from Nazi-period architectural plans and buildings. A precise source for this painting is unknown and it may therefore simply present a fictional, generalised ‘hall’, though it is reminiscent of the interior space represented in Shulamite, which was based upon the Funeral Hall for the Great German Soldiers, in the Hall of Soldiers, Berlin, designed by Wilhelm Kreis (1873–1955).\nThe references in this work to Kiefer’s painting Shulamite (a Hebrew name, associated with the Biblical Song of Solomon, and used for example, in Paul Celan’s 1948 poem about the concentration camps, ‘Death Fugue’, known to have influenced Kiefer), together with the evocations of death and mourning in the scene, and the fire (suggesting associations with the menorah and the Jewish Temple in Jerusalem) imply that the Holocaust is a central, if implicit, concern. The use of centralised perspective converging on a low horizon line may also allude to Kiefer’s use of emphatic perspective devices in so-called ‘mournful’ works depicting railway tracks or paths through fields vanishing into the distance, which have been linked to the Holocaust. Much of Kiefer’s work before Urd Werdande Skuld (The Norns) expressed grief and pain for Germany’s lost and murdered Jewish population. However, this is an important transitional work that registers both the specificity of German subject matter that was Kiefer’s main focus before the 1980s and his growing interest in mythic timescales and cosmic themes. Hence, the title of this piece – recalling Past, Present and Future – declares an interest in the nature of time itself, not as historical and linear but as dynamic and synchronous. \nSuch a cyclical, non-teleological conception of history is indebted to figures such as the Russian poet Velimir Khlebnikov (1885–1922) and the German philosopher Walter Benjamin (1892–1940), whom Kiefer admired. In this context it is possible to see the fire burning at the centre of the ‘passageway’ of time as a symbolic furnace unifying Past, Present and Future. The regenerative and transformative potential of fire – a frequently-used symbol in Kiefer’s work – points to the artist’s or individual’s ability to use myth to transcend the horror of history. Such a reading realises art historian John Hutchinson’s account of Kiefer’s artistic method which ‘attempts to lead us through the vestibule of recent history, by way of myth, to the consideration of questions of “Being”’ (Hutchinson 1990, p.73). But given Kiefer’s fascination with beginnings and creation myths, this painting may also constitute a symbolic representation of ‘Kiefer’s cosmology’ in which curator Michael Auping says, ‘the universe is an immense athanor, or alchemical oven, where spirit and matter are in a continual process of creation and destruction’ (Auping 2005, p.41). Kiefer himself has remarked: ‘There is always the distant memory of an ancient fire that creates and destroys. Everything comes from and returns to fire. It is as powerful as time’ (Auping 2005, p.62).\n\nFurther reading\n John Hutchinson, Anselm Kiefer: Jason, exhibition catalogue, The Douglas Hyde Gallery, Dublin 1990. Daniel Arasse, Anselm Kiefer, London 2000. Michael Auping, Anselm Kiefer: Heaven and Earth, exhibition catalogue, Modern Art Museum of Fort Worth 2005.\nKatya Johnson January 2012\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Between 1980 and 1983, Kiefer made paintings that revisited images of Hitler’s monumental architecture. Using old photographs and architectural plans, Kiefer transformed symbols of Nazi authority into derelict building-sites. In this work, the vaulted structure contains the unseen presence of the Norns, the three figures of fate in Germanic mythology, named Past, Present and Future. Their names are scratched into the ceiling, while below a glowing fire points to salvation and regeneration. Drawing on the artist’s fascination with Norse folklore and Wagnerian motifs, the work reflects his attempts to reconcile his country’s recent history through the myths of Germanic legend.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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false

artwork

Emulsion, acrylic paint, shellac and ash on 2 canvases

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Man under a Pyramid

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painting emulsion acrylic paint shellac ash 2 canvases

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Man under a Pyramid

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1996

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ARTIST ROOMS Tate and National Galleries of Scotland

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Palm tree and 43 works on fibreboard with clay, paint, shellac, adhesive, metal, palm fronds, fabric and paper

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Palm Sunday

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Palmsonntag

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AR00038

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Palm Sunday

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ARTIST ROOMS Tate and National Galleries of Scotland

2006

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ARTIST ROOMS Tate and National Galleries of Scotland

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Man Ray

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AR00039

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Warhol greatly admired Man Ray, a pioneer of photography as a medium for fine art, and collected his work. This double portrait is based on a Polaroid taken by Warhol at Man Ray’s home in Paris, where the two artists photographed each other. This is Man Ray towards the end of his life; Warhol recalled that he was very bent over and that the cigar he was smoking seemed ‘bigger than he was’. The gestural application of colourful acrylic paint contrasts with the reproduction of the photographic image and seems to suggest an emotional engagement with the subject.Gallery label, March 2010

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Man Ray

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ARTIST ROOMS Tate and National Galleries of Scotland

1974

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ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div>This portrait is one of a pair of works based on a Polaroid photograph taken by Warhol of the artist Man Ray (1890–1976), a central figure in the dada and surrealist movements. The photograph was taken on 30 November 1973 in Paris, where Man Ray lived. An audiotape recording of the modelling session attests that Warhol specifically requested Man Ray to hold his cigar in his mouth, remove his glasses, and keep his hands away from his face (Goldsmith, Wolf and Koestenbaum 2004, p.235). The painting and its pair were made in 1974 in Warhol’s New York studio, known as the Factory, on unstretched canvas that had been rolled out flat on the studio floor. One of Warhol’s assistants, Rupert Smith, helped the artist with screen-printing. This work shows Man Ray with a yellow jacket against a green background, while its pair shows the jacket as predominantly blue against a deep red background. There are several places where these colours blur together and overlap, serving variously to obscure and emphasise facial details. Following the screen-printing process, Warhol made additions by hand using broad paintbrushes that have left the surface of both canvases swathed in thick, visible brush strokes. Although the majority of Warhol’s portraits from this time were commissions and featured the rich and famous, he also made non-commissioned portraits of fellow artists for whom he had great respect. In a self-recorded video diary made in 1976 Warhol claimed that he ‘only really loved him [Man Ray] for his name, to be truthful … his name was the best thing about him’ (Goldsmith, Wolf and Koestenbaum 2004, p.231), though other evidence suggests that Warhol had admired Man Ray for a long time. In the early years of his career Warhol collected Man Ray’s photographs and prints, and the older artist’s painting Peinture feminine 1954 (private collection) was hung prominently in the sitting room of Warhol’s New York townhouse.The heavily worked brushstrokes in Man Ray indicate that Warhol spent some time and energy perfecting it, and are similar to those visible in portraits of his mother, for example Julia Warhola 1974 (Leo Castelli Gallery, New York). The critic and art historian Carter Ratcliff has argued that this unusual formal feature attests to the importance Warhol placed on this work and the ‘convincing emotion’ he felt toward the subject (Ratcliff 1983, p.72).Further readingCarter Ratcliff, Andy Warhol, New York 1983, reproduced p.167.Kenneth Goldsmith, Reva Wolf and Wayne Koestenbaum, I'll Be Your Mirror: The Selected Andy Warhol Interviews: 1962–1987, New York 2004, pp.229–32.Oliver LurzJanuary 2012</div>", "display_name": "Summary", "publication_date": "2024-05-31T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "In the early 1970s Warhol began to accept regular commissions to paint the portraits of the rich and famous. However, as well as commissions, Warhol painted a number of portraits of people he admired, especially other artists. Man Ray, the American photographer and Dada artist, was one of his heroes, so much so that, when he could afford it, Warhol acquired a number of his photographs, paintings and early books. This portrait-diptych of Man Ray is based on a Polaroid photograph he took of him, cigar in mouth, in 1973. As with the portraits of his mother and other people he felt close to, these portraits of Man Ray are among the most painterly and heavily-worked Warhol ever painted.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Gilbert and George

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false

1

https://media.tate.org.u…AR/AR00040_8.jpg

2121

painting acrylic paint silkscreen 2 canvases

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Gilbert and George

1,975

ARTIST ROOMS Tate and National Galleries of Scotland

1975

CLEARED

6

support: 1022 × 1019 × 21 mm support: 1018 × 1018 × 21 mm frame (each): 1091 × 1091 × 73 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

13610 118 88 39635 18039 20118 195 103 9328 20114 203

false

artwork

Acrylic paint, oil paint, shellac, earth, sand, wood, paper and glass on 2 canvases, lead, iron, books and other materials

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3,406

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1,999

<a href="https://www.tate.org.uk/art/artists/anselm-kiefer-1406" aria-label="More by Anselm Kiefer" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Anselm Kiefer</a>

Cette obscure clarté qui tombe des étoiles

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00041

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7005175 1003143 7003692 7000084

Anselm Kiefer

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[]

false

1

https://media.tate.org.u…R/AR00041_10.jpg

1406

installation acrylic paint oil shellac earth sand wood paper glass 2 canvases lead iron books other materials

[]

Cette obscure clarté qui tombe des étoiles

1,999

ARTIST ROOMS Tate and National Galleries of Scotland

1999

CLEARED

3

support: 4700 × 4000 mm object: 3400 × 1650 × 1100 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[]

null

false

69 9693 166 540 2472 4574 1707 75

false

artwork

Video, 5 flat screens, colour

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3,407

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2,001

<a href="https://www.tate.org.uk/art/artists/bill-viola-2333" aria-label="More by Bill Viola" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Bill Viola</a>

Catherines Room

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00042

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42801

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Bill Viola

2,001

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false

1

https://media.tate.org.u…R/AR00042_10.jpg

2333

installation video 5 flat screens colour

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Catherine’s Room

2,001

ARTIST ROOMS Tate and National Galleries of Scotland

2001

CLEARED

3

displayed: 381 × 2460 × 570 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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null

false

175 736 732 1712 767 5852 926 41 119 504 82 85 6272 12083 4990 1228 761 681 9328 72 1566 52 137 45 136 2799 6190 75 5731 517 167 5750 2798

false

artwork

Video, 4 flat screens, black and white

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3,408

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<a href="https://www.tate.org.uk/art/artists/bill-viola-2333" aria-label="More by Bill Viola" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Bill Viola</a>

Four Hands

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00043

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7013905 7007567 1002551 7007568 7012149

Bill Viola

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installation video 4 flat screens black white

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Four Hands

2,001

ARTIST ROOMS Tate and National Galleries of Scotland

2001

CLEARED

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displayed: 230 × 1300 × 205 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[]

[ "actions: postures and motions", "body", "emotions, concepts and ideas", "fist / fists clenched", "formal qualities", "hand", "hands clasped", "people", "photographic" ]

null

false

92 93 2781 1079 4670 9328

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artwork

Wooden structure, 2 light bulbs and timer

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3,409

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1,971

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Changing Light Corridor with Rooms

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00044

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Bruce Nauman

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Changing Light Corridor with Rooms 1971 can be installed in several ways but always consists of a long, walled corridor, about thirty centimeters wide, from which two side rooms (one rectangular, the other triangular) can be reached half-way down. The darkness of the corridor is interrupted intermittently by harsh, flashing streams of light coming from the side rooms. The flashing occurs at a specified rate: in the rectangular room the lights are on for ten seconds, then off for four seconds; and in the triangular room they are on for seven seconds and off for two.

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https://media.tate.org.u…R/AR00044_10.jpg

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installation wooden structure 2 light bulbs timer

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Changing Light Corridor with Rooms

1,971

ARTIST ROOMS Tate and National Galleries of Scotland

1971

CLEARED

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Overall display dimensions variable

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nChanging Light Corridor with Rooms 1971 can be installed in several ways but always consists of a long, walled corridor, about thirty centimeters wide, from which two side rooms (one rectangular, the other triangular) can be reached half-way down. The darkness of the corridor is interrupted intermittently by harsh, flashing streams of light coming from the side rooms. The flashing occurs at a specified rate: in the rectangular room the lights are on for ten seconds, then off for four seconds; and in the triangular room they are on for seven seconds and off for two.\nThe work was constructed in Nauman’s studio in Los Angeles. Nauman began constructing intentionally discomforting corridors and environments after making his first Performance Corridor (Solomon R. Guggenheim Museum, New York) during a short stay in New York in 1969, just before moving to Los Angeles. Describing how he conceived of the corridor pieces Nauman has said:\n\n<blockquote>A number of those corridor pieces came out of a dream. It was about being in a long corridor and there was a room at the end of the corridor. The light was a yellow-grey colour, dim. There was a figure on the left, unidentified. I had the dream so many times and I kind of figured it must be a part of myself I hadn’t identified. It seemed important to objectify myself. (Morgan 2002, p.41.) </blockquote>\nThe work is a manifestation of the artist’s fascination with the affects that physical environments can have on people, especially the feeling of unease that comes from being in a space that is too compressed or too large. The structure of the work invites viewers to interact with it and to step into a space that could be physically or mentally disorientating. Once inside, viewers find themselves in a situation that simultaneously lures and repels. The side rooms offer a brief sense of liberation from the narrow corridor, yet they also produce a feeling of alienation and self-consciousness due to the intense, flashing light and confined space. Any sense of isolation, however, is affected by the possible presence of other visitors, which may heighten the viewers’ feelings of self-consciousness. \nActivated by the presence of a moving body, Changing Light Corridor with Rooms requires viewers to become participants in the work, obliging them to follow the rules of an experimental situation established by the physical parameters of the space. The predicament in which this places the viewers may be compared to the situations endured by the protagonists in the writings of Samuel Beckett (1906–1989), such as Happy Days (1961), in which a woman is buried up to her neck in sand or Waiting for Godot (1953), in which two characters wait for a third character who never appears. Nauman’s interest in the writer’s work is made explicit by the very use of Beckett’s name in the title of the artist’s piece Slow Walk (Beckett Walk) (1968). In Changing Light Corridor with Rooms this influence manifests itself through the artist’s capturing of a sense of life’s agitating yet comical perpetuity, his use of the absurd and the feeling of being watched or the tension of waiting for something to happen. \n\nFurther reading\n Paul Schimmel, Bruce Nauman, exhibition catalogue, Walker Art Center, Minneapolis 1994, p.77. Robert Morgan, Bruce Nauman, Baltimore 2002, p.41. Carlos Basualdo and Michael R. Taylor, Bruce Nauman: Topological Gardens, exhibition catalogue, Philadelphia Museum of Art 2009, p.102.\nAgnieszka Gryczkowska October 2011\n</div>\n", "display_name": "Summary", "publication_date": "2020-08-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "During the 1960s and 1970s, Nauman created various claustrophobic and enclosed spaces that were designed to disorientate his audiences. In this installation, a long corridor is shrouded in darkness, whilst two rooms on either side are illuminated by bulbs that are timed to flash at different rates. The particular length and width of the corridor, together with the intensity of the intermittent lights, function to direct our movements as we traverse the space. No longer simply passive spectators, Nauman transforms us into active participants who are nevertheless controlled and manipulated by his reconstruction of the gallery’s layout.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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artwork

Butterflies and household gloss paint on 2 canvases

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Monument to Living and Dead

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00045

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Damien Hirst

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Monument to the Living and the Dead is a very large painting composed of two equal-sized square canvases mounted in abutting white frames. Each canvas is covered with a layer of monotone household gloss paint, in which exotic butterfly carcasses are embedded. The square on the left is painted white; that on the right is black. The oppositional relationship between the colours black and white has a special significance for Hirst. He has explained:

false

1

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2308

painting butterflies household gloss paint 2 canvases

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Monument to the Living and the Dead

2,006

ARTIST ROOMS Tate and National Galleries of Scotland

2006

CLEARED

6

support, each: 2135 × 2135 × 33 mm displayed: 2322 × 4645 × 120 mm frame: 2322 × 2322 × 120 mm frame: 2323 × 2325 × 120 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nMonument to the Living and the Dead is a very large painting composed of two equal-sized square canvases mounted in abutting white frames. Each canvas is covered with a layer of monotone household gloss paint, in which exotic butterfly carcasses are embedded. The square on the left is painted white; that on the right is black. The oppositional relationship between the colours black and white has a special significance for Hirst. He has explained:\n \n<blockquote>I’ve always been interested in the split between mind and body, the one and the other, the difference between art and life, life and death, like black and white … I think of life and death as black and white. If life is white, black is death. Trying to explain or imagine death is like trying to imagine black by only using white. There’s no way you can get to it, it’s like the same thing but opposite. This is life and death isn’t. I’m not happy with any of those descriptions.</blockquote>\n<blockquote>(Quoted in Adrian Dannatt, ‘Damien Hirst: Life’s like this, then it stops’, Flash Art, no.169, March–April 1993, p.63.)</blockquote>\n \nHirst’s first use of exotic butterflies to make art dates from his first solo exhibition in 1991. Entitled In and Out of Love, the exhibition was spread over two floors of an empty shop premises in London’s West End, setting up a binary scene. Upstairs, white paintings with the pupae of Malaysian butterflies glued to them were hung around the space. Here the butterflies hatched before briefly fluttering around the room, feeding on nectar from pot plants lined up on shelves attached to the bottoms of the canvases, and eventually dying. Downstairs, Hirst’s first butterfly paintings – seven foot square canvases covered in brightly coloured monochrome household gloss paint in which dead butterflies appear trapped – were juxtaposed with ashtrays containing cigarette butts and a three foot white cube with circular holes in it, suggesting a possible source for the butterflies. Hirst has commented that, ‘it was all based on the body. I was saying “…I want it to be bigger than you are, bigger than I am”, so it was like seven feet, because six feet was too small.’ (Quoted in Damien Hirst, p.77.) Monument to the Living and the Dead is based on these same dimensions – each canvas is seven foot square – as is a very similar work made in 2004, The Agony and the Ecstacy (reproduced Damien Hirst, pp.80–1).\n \nAlthough the butterflies on the two canvases that make up Monument to the Living and the Dead appear to have been scattered in a random fashion, in fact they have been arranged in patterns which exactly replicate each other, down to the size and colour of each butterfly. This is not immediately visible, because the canvases are hung in opposing orientations – the panel on the right constituting an inverted, black version of that on the left – resulting in a sense of inexact mirroring. Inversion and rotation have been formal tactics in Hirst’s work since 1993 when he created three replicas of his 1991 sculptural installation The Acquired Inability to Escape (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-the-acquired-inability-to-escape-t12748\" title=\"View the details of this artwork\">T12748</a>) entitled The Acquired Inability to Escape Inverted, The Acquired Inability to Escape Divided and The Acquired Inability to Escape Inverted and Divided (reproduced Damien Hirst, I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now, London 1997, pp.59, 61–2 and 66–7), according to the processes they were subjected to. \n \nThe dualistic vision presented in the installation In and Out of Love and in these more recent paintings extends beyond the use of colour and organisation on the canvas to the insects themselves. Hirst’s single-panel butterfly paintings created since the early 1990s have titles that refer to love either directly or obliquely: I’m in Love 1994–5, She Loves You 1997, Girl 1997, Another Girl 1997 and Beautiful Feeling 1997 (reproduced Damien Hirst, pp.79, 91–3 and 95). The equation of the butterfly with love and life contrasts with Hirst’s use of flies. In 1990 the artist created one of his most famous and groundbreaking works, A Thousand Years 1990 (reproduced Damien Hirst, pp.70–1), as an expression of repetitive and pointless mortality. In the two adjoining chambers of a glass-walled vitrine, a rotting cow’s head hosted a colony of flies that feed, breed and potentially died on the suspended Insect-O-Cutor that hung over the dead head. Hirst’s first fly painting, Untitled Black Monochrome (Without Emotion) (Miuccia Prada, Milan) made in 1997, was the precursor to a series of canvases encrusted with dead flies and titled with the names of disasters and diseases, all suggesting if not actually referring to death. Who’s Afraid of the Dark? 2002 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-whos-afraid-of-the-dark-t12750\" title=\"View the details of this artwork\">T12750</a>) is an example of this. Hirst has said: ‘I think I’ve got an obsession with death, but I think it’s like a celebration of life rather than something morbid. You can’t have one without the other.’ (Damien Hirst and Gordon Burn, On the Way to Work, London 2001, p.21.)\n \n\nFurther reading:\n\nEduardo Cicelyn, Mario Codognato and Mirta D’Argenzio, Damien Hirst, exhibition catalogue, Museo Archeologico Nazionale, Naples 2004, pp.86–94.\n \nElizabeth Manchester\nOctober 2009\n \n \n</div>\n", "display_name": "Summary", "publication_date": "2012-04-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "This large butterfly diptych was made specially for The d’Offay Donation. A diptych of two pieces of wood or metal containing the names of the living and the dead has been used, so that prayers and Masses can be said for their souls. Hirst has long been obsessed with butterflies as a metaphor for mortality. They are traditional symbols of the soul. In 1991 Hirst filled a London gallery with hundreds of live tropical butterflies, some of them growing from chrysalises on monochrome canvasses hung from the wall.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "animals: insects & lower animals", "birth to death", "birth to death", "butterfly", "death", "life and death - butterfly", "memorial", "society", "symbols and personifications" ]

null

false

66 164 146 2568 722 1755

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artwork

Coffee, egg white, mustard and graphite on canvas

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3,411

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1,973

<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

DANCE

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00046

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

1,973

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DANCE? highlights Ruscha’s interest in North American popular culture from the 1960s and 1970s. He created it with unusual materials including coffee, egg white and mustard. These foodstuffs are commonly associated with diners and fast food. The simple invitation to dance invokes light-hearted entertainment.Gallery label, July 2019

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https://media.tate.org.u…R/AR00046_10.jpg

1882

painting coffee egg white mustard graphite canvas

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DANCE?

1,973

ARTIST ROOMS Tate and National Galleries of Scotland

1973

CLEARED

6

support: 1372 × 1520 × 29 mm frame: 1530 × 1670 × 80 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

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[ "abstraction", "dance", "leisure and pastimes", "music and entertainment", "non-representational", "text" ]

null

false

10063 53 185 445

false

artwork

Acrylic paint on canvas

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3,412

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2,003

<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

Pay Nothing Until April

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00047

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

2,003

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Ruscha has stencilled the seemingly unrelated text ‘PAY NOTHING UNTIL APRIL’ on top of snow-capped mountains. Awe-inspiring natural imagery meets banal, consumerist text. Ruscha, who studied graphic design, invented the typeface, which is inspired by the Hollywood sign. He calls it ‘Boy Scout Utility Modern’, and has described it as ‘no-style’. Of the dramatic scenery he has commented that they are not realistic depictions: ‘They’re ideas of mountains, picturing some kind of unobtainable bliss or glory … tall, dangerous and beautiful’.Gallery label, July 2019

false

1

https://media.tate.org.u…AR/AR00047_9.jpg

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painting acrylic paint canvas

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Pay Nothing Until April

2,003

ARTIST ROOMS Tate and National Galleries of Scotland

2003

CLEARED

6

support: 1527 × 1525 × 40 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nPay Nothing Until April depicts precisely detailed snow-capped mountains contrasted against a yellow sky suggestive of sunset or sunrise. The low lighting casts azure blue shadows down the sides of the central peaks while the foreground is rendered by the dark silhouette of an incline that cuts across the bottom right corner of the tableau. Painted on top of this landscape is the seemingly unrelated phrase ‘PAY NOTHING UNTIL APRIL’ in a clean, modern font that is evenly spaced so that each word occupies a separate line in the centre of the picture. This work belongs to a large body of paintings, begun in the 1980s, in which Ruscha overlays natural landscapes with texts (see also Daily Planet 2003, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-daily-planet-ar00048\" title=\"View the details of this artwork\">AR00048</a>).\nTo create this work, Ruscha sprayed a thin layer of paint onto the canvas, then worked the image up in acrylic paint using medium-sized brush. The text was applied using stencils, and is presented in Boy Scout Utility Modern, a typeface of the artist’s own creation described by him as a sort of ‘no-style’ (Richards 2008, p.82).\n\nPay Nothing Until April expresses a cool, detached world-view in keeping with Ruscha’s conceptual works such as his photo-book (Every Building On) The Sunset Strip 1966 (Los Angeles County Museum of Art). Roughly the size of a poster that might be displayed in a shop window, the picture’s alpine setting and eye-grabbing lettering call to mind an advertisement for a bargain ski holiday. Despite its ready-made appearance, however, the pairing of text and image was conceived by Ruscha who executed the montage with a high degree of finish. Nevertheless Ruscha claims to be indifferent to the eclectic source material that he amasses: ‘I’m empty headed in many ways, and don’t know why I follow what I follow. Like most people, I operate on an automatic mode, and everything is an involuntary reflex. Logic flies out of the window when you’re making a picture, at least it does with me. And thank God it does.’ (Hayward Gallery 2010, p.63.) As with the aforementioned photo-book, which brings together images on the basis of somewhat arbitrary categorisations, Pay Nothing Until April appears to have been created in accordance with a pointedly superficial sensibility. \nRuscha has spent his entire career living and working in the southern Californian city of Los Angeles, and its film industry has had an important bearing on his work. Ruscha has confessed that, for him, the backdrops for paintings such as Pay Nothing Until April are ‘not really mountains in the sense that a naturalist would paint a picture of a mountain. They’re ideas of mountains, picturing some kind of unobtainable bliss or glory … tall, dangerous and beautiful’ (quoted in Richards 2008, p.100). Appropriated from photographs and postcards or amalgamated from different mountain ranges, these scenes call to mind the mountainscapes of adventure movies such as the 1969 James Bond picture On Her Majesty’s Secret Service or the logo of Paramount Pictures, one of Hollywood’s biggest production companies, as much as they echo the sublime landscapes made popular by European Romantic painting. By deflating awe-inspiring natural imagery with the imposition of banal, consumerist text rendered in ‘no-style’, Ruscha’s painting reflects the city in which he lives, a place he once referred to as ‘the ultimate cardboard cut-out town’ (quoted in Schwartz 2004, p.244).\n\nFurther reading\n Alexandra Schwartz (ed.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Cambridge, Massachusetts 2004. Mary Richards, Ed Ruscha. Singapore 2008. Edward Ruscha, James Ellroy, Ralph Rugoff, Ed Ruscha: Fifty Years of Painting, exhibition catalogue, Hayward Gallery, London 2010.\nLuke Healey November 2011\n</div>\n", "display_name": "Summary", "publication_date": "2012-06-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nRuscha has stencilled the seemingly unrelated text ‘PAY NOTHING UNTIL APRIL’ on top of snow-capped mountains. Awe-inspiring natural imagery meets banal, consumerist text. Ruscha, who studied graphic design, invented the typeface, which is inspired by the Hollywood sign. He calls it ‘Boy Scout Utility Modern’, and has described it as ‘no-style’. Of the dramatic scenery he has commented that they are not realistic depictions: ‘They’re ideas of mountains, picturing some kind of unobtainable bliss or glory … tall, dangerous and beautiful’.\n</div>\n", "display_name": "Display caption", "publication_date": "2019-07-26T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "advertising", "evening", "inscriptions", "landscape", "lifestyle and culture", "mountain", "non-representational", "snow", "society", "symbols and personifications", "text", "times of the day", "title of work", "weather" ]

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artwork

Acrylic paint on canvas

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3,413

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2,003

<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

DAILY PLANET

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00048

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

2,003

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The source for the text in DAILY PLANET is deliberately hard to pin down. It might connect with the natural imagery behind it. It is also the name of the newspaper Clark Kent writes for in the Superman comics. Ruscha has described the work’s title as ‘mysterious and teasing’. In an interview he claimed, ‘I’m empty headed in many ways, and don’t know why I follow what I follow. Like most people, I operate on an automatic mode, and everything is an involuntary reflex. Logic flies out of the window when you’re making a picture, at least it does with me. And thank God it does.’Gallery label, July 2019

false

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https://media.tate.org.u…R/AR00048_10.jpg

1882

painting acrylic paint canvas

[ { "artistRoomsTour": true, "dateText": "21 March 2009 – 13 June 2010", "endDate": "2010-06-13", "exhibitionLegs": [ { "dateText": "21 March 2009 – 13 June 2010", "endDate": "2010-06-13", "id": 4722, "startDate": "2009-03-21", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 3960, "startDate": "2009-03-21", "title": "Edward Ruscha", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "28 May 2011 – 29 October 2011", "endDate": "2011-10-29", "exhibitionLegs": [ { "dateText": "28 May 2011 – 29 October 2011", "endDate": "2011-10-29", "id": 6170, "startDate": "2011-05-28", "venueName": "Wolverhampton Art Gallery (Wolverhampton, UK)", "venueWebsiteUrl": "http://www.wolverhamptonart.org.uk" } ], "id": 5040, "startDate": "2011-05-28", "title": "ARTIST ROOMS 2011: Ed Ruscha", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "30 June 2012 – 23 September 2012", "endDate": "2012-09-23", "exhibitionLegs": [ { "dateText": "30 June 2012 – 23 September 2012", "endDate": "2012-09-23", "id": 6915, "startDate": "2012-06-30", "venueName": "Bristol Museum & Art Gallery (Bristol, UK)", "venueWebsiteUrl": "http://www.bristol-city.gov.uk" } ], "id": 5637, "startDate": "2012-06-30", "title": "ARTIST ROOMS 2012: Raw Materials: Four American Artists, 1972-2007", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "22 February 2013 – 22 May 2013", "endDate": "2013-05-22", "exhibitionLegs": [ { "dateText": "22 February 2013 – 22 May 2013", "endDate": "2013-05-22", "id": 7790, "startDate": "2013-02-22", "venueName": "Hatton Gallery (Newcastle upon Tyne, UK)", "venueWebsiteUrl": null } ], "id": 6366, "startDate": "2013-02-22", "title": "ARTIST ROOMS 2013: Ed Ruscha", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "29 April 2017 – 29 April 2018", "endDate": "2018-04-29", "exhibitionLegs": [ { "dateText": "29 April 2017 – 29 April 2018", "endDate": "2018-04-29", "id": 11472, "startDate": "2017-04-29", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 9212, "startDate": "2017-04-29", "title": "ARTIST ROOMS Ed Ruscha", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "22 July 2019 – 18 July 2021", "endDate": "2021-07-18", "exhibitionLegs": [ { "dateText": "22 July 2019 – 18 July 2021", "endDate": "2021-07-18", "id": 13168, "startDate": "2019-07-22", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10846, "startDate": "2019-07-22", "title": "AR Ed Ruscha", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "27 February 2023", "endDate": null, "exhibitionLegs": [ { "dateText": "27 February 2023", "endDate": null, "id": 15373, "startDate": "2023-02-27", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12616, "startDate": "2023-02-27", "title": "ARTIST ROOMS Texts", "type": "Collection based display" } ]

DAILY PLANET

2,003

ARTIST ROOMS Tate and National Galleries of Scotland

2003

CLEARED

6

support: 1529 × 1529 × 40 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nDaily Planet depicts a precisely detailed snow-capped mountain against a deep blue sky. The single jagged alpine peak forms a diagonal line across the canvas, with the apex in the top left, sloping down to the bottom right. Painted on top of this landscape is the seemingly unrelated phrase ‘DAILY PLANET’ in a clean modern font that is evenly spaced so that each word occupies a separate line in the centre of the picture. This work belongs to a large body of paintings, begun in the 1980s, in which the artist Edward Ruscha overlaid natural landscapes with texts (see also Pay Nothing Until April 2003, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-pay-nothing-until-april-ar00047\" title=\"View the details of this artwork\">AR00047</a>). Although, in this work, the legibility of the white text is reduced by the white expanse of the snowy mountain.\nTo create this work Ruscha sprayed a thin layer of paint onto the canvas, then worked the image up in acrylic paint using a medium-sized brush. The text was applied using stencils, and is presented in Boy Scout Utility Modern, a typeface created by the artist and described by him as a sort of ‘no-style’ (Richards 2008, p.82).\nUnlike Pay Nothing Until April, which appropriates a common piece of advertising jargon, the source for the text in Daily Planet is difficult to pinpoint. With its natural imagery and evocation of ecological cycles, the work might call to mind the language employed by New Age and conservation movements, which had an important relationship to the genre of landscape painting in late nineteenth- and early twentieth-century America. Yet popular culture is also alluded to as Ruscha’s title is also the name of the newspaper for which Clark Kent is a reporter in the Superman comics. Ruscha has described the work’s title as ‘mysterious and teasing’ (artist’s talk, Wolverhampton Art Gallery, 21 October 2011) and is traditionally reluctant to ascribe any definite meaning to the phrases he uses. In an interview he claimed, ‘I’m empty headed in many ways, and don’t know why I follow what I follow. Like most people, I operate on an automatic mode, and everything is an involuntary reflex. Logic flies out of the window when you’re making a picture, at least it does with me. And thank God it does.’ (Quoted in Ruscha 2010, p.63.) This coolly detached approach to artistic inspiration is reflected in the neutral appearance of the Boy Scout Utility Modern typeface.\nRuscha has spent his career living and working in the southern Californian city of Los Angeles, and its film industry has had an important bearing on his work. Ruscha has commented that the backdrops for paintings such as Daily Planet are ‘not really mountains in the sense that a naturalist would paint a picture of a mountain. They’re ideas of mountains, picturing some kind of unobtainable bliss or glory […] tall, dangerous and beautiful’ (quoted in Richards 2008, p.100). Many of the images are appropriated from photographs and postcards or amalgamated from images of different mountain ranges. As such the scenes call to mind the mountainscapes of adventure movies like the 1969 James Bond picture On Her Majesty’s Secret Service, or the logo of Paramount Pictures – one of Hollywood’s biggest production companies – as much as they echo the sublime landscapes of European Romantic and American pastoral painting. By deflating awe-inspiring natural imagery with the imposition of banal text rendered in ‘no-style’, Ruscha’s painting reflects the city in which he lives, a place he once referred to as ‘the ultimate cardboard cut-out town’ (quoted in Ruscha 2004, p.244).\n\nFurther reading\n Ed Ruscha and Alexandra Schwartz (ed.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Cambridge, MA 2004. Mary Richards, Ed Ruscha, Singapore 2008. Edward Ruscha, James Ellroy, Ralph Rugoff, Ed Ruscha: Fifty Years of Painting, exhibition catalogue, Hayward Gallery, London 2010.\nLuke Healey The University of Edinburgh March 2012 \n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThe source for the text in DAILY PLANET is deliberately hard to pin down. It might connect with the natural imagery behind it. It is also the name of the newspaper Clark Kent writes for in the Superman comics. Ruscha has described the work’s title as ‘mysterious and teasing’. In an interview he claimed, ‘I’m empty headed in many ways, and don’t know why I follow what I follow. Like most people, I operate on an automatic mode, and everything is an involuntary reflex. Logic flies out of the window when you’re making a picture, at least it does with me. And thank God it does.’\n</div>\n", "display_name": "Display caption", "publication_date": "2019-07-26T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "inscriptions", "landscape", "mountain", "non-representational", "snow", "symbols and personifications", "text", "title of work", "weather" ]

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BLVDAVEST

2,008

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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This image evokes the concrete and grid-like structure of urban Los Angeles. The large scale of the canvas also implies the vastness of the city’s urban sprawl. Abbreviations of ‘boulevard’, ‘avenue’ and ‘street’ are the only indications of a human element. In contrast to the grey hues, the bright orange and red of the horizon adds the suggestion of a Technicolor movie to an otherwise stark painting.Gallery label, July 2019

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https://media.tate.org.u…R/AR00049_10.jpg

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painting acrylic paint canvas

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BLVD.-AVE.-ST.

2,006

ARTIST ROOMS Tate and National Galleries of Scotland

2006

CLEARED

6

support: 1782 × 2747 × 40 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nEd Ruscha’s BLVD.- AVE.- ST. 2006 is a large rectangular acrylic painting, with the majority of the canvas speckled in shades of pale and dark grey. Crossing diagonally from the bottom left to the top right corner is a thick, straight band of pale grey with the abbreviation ‘ST.’ represented parallel to it. Intersecting this band are two other, slightly thinner pale bands, running from the top left to the bottom right, with ‘AVE.’ and ‘BLVD.’ represented parallel to them. These crossing lines form a street view from above, with the end of the lines on the left side fading into the background, while on the right edge the lines end abruptly. Running laterally along the top of the canvas is a straight strip of speckled red and orange, which appears to mark the horizon.\nRuscha’s career began in 1956 with his move to Los Angeles, where he studied graphic design at the <a href=\"https://en.wikipedia.org/wiki/Chouinard_Art_Institute%22 \\o %22Chouinard Art Institute\">Chouinard Art Institute</a>. Art critic Andrew Bogle has noted how Ruscha adapted the ‘virtues of advertising graphics, notably its techniques, its directness, clarity and economy of means … to his own highly individualistic style’ (Geldzahler and Bogle 1978, p.18). This method can be seen in the wake of his transition from advertising to fine art, most especially in the deft neatness of the typography and the precision of his lines. For the background of BLVD.- AVE.- ST., Ruscha used an airbrush tool and acrylic paint in order to achieve what art historian Richard D. Marshall has called ‘phantom avenues spray-painted on grounds of modulated greys and blacks’ (Marshall 2003, p.237). While exhibiting Ruscha’s colour and technique, the large scale of the canvas also implies the vastness of the city’s urban sprawl.\nRuscha’s love of language, especially that of signs and billboards from highways and the inner city, can be seen in the common abbreviation and typographically stylised lettering of ‘BLVD.’, ‘AVE.’ and ‘ST.’. The viewer may not immediately recognise that this grid-like pattern is a street map were it not for the text. Marshall notes that this is similar to artists such as Piet Mondrian (1872–1944), whose grid artworks reveal their cityscape inspiration once looked at alongside their title (Marshall 2003, p.238). The words are indeed the only indication of a human element in Ruscha’s sparse cityscape: the image evokes the concrete and grid-like structure of the entirety of urban Los Angeles. In contrast to the grey hues, the bright orange and red of the horizon adds the suggestion of a Technicolor Western movie to an otherwise stark painting, a reference to the ‘old Hollywood’ aesthetic, as seen in paintings such as Trademark #5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-trademark-5-t07510\" title=\"View the details of this artwork\">T07510</a>).\nRuscha’s fascination with, and interrogation of, urban and natural sites has been a concern throughout his career. This was initially explored in a series of black and white photographs entitled Thirtyfour Parking Lots 1967. The series consisted of aerial shots of parking lots in Los Angeles, exemplified by prints such as Goodyear Tires (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-good-year-tires-6610-laurel-canyon-north-hollywood-al00252\" title=\"View the details of this artwork\">AL00252</a>). These images act as more detailed and site-specific photographic precursors to BLVD.-AVE.-ST. As Marshall notes, Ruscha commenced a series of paintings in the 1990s which show the oversize, simplified street locations of Los Angeles from an aerial perspective, of which this work is one (Marshall 2003, p.182). In contrast with other landscape works by Ruscha such as The Music from the Balconies (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-the-music-from-the-balconies-ar01126\" title=\"View the details of this artwork\">AR01126</a>), a colourful stereotypical rural scene, BLVD.-AVE.-ST. appears anonymous, urban and almost abstract. Yet in both forms of landscape Ruscha maintains the specific West Coast pragmatism of his pop art contemporaries, holding a balance between the reality of the locale and stylised Hollywood depiction. \n\nFurther reading\n Henry Geldzahler and Andrew Bogle, Graphic Works by Edward Ruscha, exhibition catalogue, Auckland City Art Gallery, Auckland 1978. Richard D. Marshall, Ed Ruscha, London 2003. Mary Richards, Ed Ruscha, London 2008.\nHayley Gault University of Edinburgh November 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis image evokes the concrete and grid-like structure of urban Los Angeles. The large scale of the canvas also implies the vastness of the city’s urban sprawl. Abbreviations of ‘boulevard’, ‘avenue’ and ‘street’ are the only indications of a human element. In contrast to the grey hues, the bright orange and red of the horizon adds the suggestion of a Technicolor movie to an otherwise stark painting.\n</div>\n", "display_name": "Display caption", "publication_date": "2019-07-26T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

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Ruscha presents a simplified image of a petrol station in a wide horizontal format, reminiscent of a cinema screen. ‘Standard’ is the name of an oil company. In 1963 Ruscha made the photographic book Twentysix Gasoline Stations, shown in another room of this display. This drawing is one of a number works that arose from the photographic project.Gallery label, July 2019

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CLEARED

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support: 279 × 457 mm frame: 454 × 628 × 31 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nStandard Study # 3 depicts a petrol station in white, black and red ink against a pale blue tempera wash background. The station is very neatly drawn and recedes perspectivally from left to right, creating a dynamic diagonal composition. It is a simplified version of an image first explored by the artist in the monumental painting, also of 1963, titled Standard Station, Amarillo, Texas (Hood Museum of Art, Dartmouth College, Hanover, New Hampshire), which is over three metres in width. In that work, the wide stretch of canvas recalls the dimensions and proportions of CinemaScope widescreen movie projections, and in Standard Study #3 there is a similar horizontal elongation. Ruscha returned to the Standard Station image in at least three other large paintings from 1964–6, as well as numerous other works on paper. \nThe source of this motif, which played a significant role in the development of Ruscha’s work of the 1960s and his identification with west coast pop art, can be found within the artist’s photographic publication Twentysix Gasoline Stations 1963 (Tate Library and Archive), which includes a photograph, entitled Standard Station, Amarillo, Texas, from which the gas station image was derived. In this original photograph, the diagonal positioning of the station, as it is seen from across the empty highway, is far less dynamic than in Standard Study #3, with the station’s banal architecture cluttered with bunting, roadside signs and other everyday detritus. In making a graphic version of this image, Ruscha transformed the gas station, removing any unnecessary details, exaggerating the composition and imbuing it with an iconic presence. In a conversation with the curator Sylvia Wolf, Ruscha reflected on this image and its visual and cultural associations: \n\n<blockquote>The photograph was the model for other depictions, with its baseline perspective and its diagonal screaming overhead. It followed an idea I had about cinematic reality … It seemed like all movies would have a train in them. Invariably, they had the camera down on the tracks and shot this train so it appeared as though it was coming from nowhere, from a little point in the distance, to suddenly zooming in and filling your total range of vision. In a sense, that’s what the Standard gas station is doing. It’s super drama. </blockquote>\n<blockquote>(Quoted in Wolf 2004, pp.264–5.)</blockquote>\nThe drawing of the station is carefully ruled and measured, apparently traced from a scaled-down template of the much larger painting. The proportions are identical across the various versions, suggesting a repeatable, reusable format used to transfer the image from one work to another. This technical method links this series to Ruscha’s work in the late 1960s as the production designer for the influential magazine Artforum, where transparencies and light boxes would have been used in the preparation of magazine layouts. The curator Cornelia Butler has suggested that Ruscha’s simultaneous practice of fine art and design definitively shaped the artist’s drawing output, writing: ‘Productively laying waste to a genre, deflating the received history of an entire category of artistic practice, is a characteristic that can be applied when considering Ruscha’s early drawings of Standard Gas stations … That is, they have all the indications of graphic design and very few signifiers of drawings, as in disegno – the overt display of the hand.’ (Rowell and Butler 2004, p.28.) \nIn Standard Study #3, some pencil underdrawing from the initial tracing is visible, but the majority of lines have been reinforced with black ink, which also blocks in the façade of the station and the trim of its overhang. The petrol pumps are coloured with a bright red ink, which was also used for a strip along the lower part of the building. The ink has been applied fairly quickly, so that some of the areas of block colour seep into the precisely ruled black lines and the areas of the building that have been left white as blank paper. The background is a chalky, light blue colour that clearly evokes an empty sky. There are streaks of pale canary yellow in the bottom right corner, at the point where the lines receding from the gas station’s roof meet the corner of the sheet of paper. The diagonal axis of the structure is aligned so that its upper edge begins in the top left corner and ends in the bottom right, dividing the composition into two halves: station and background, detail and emptiness. The blue and yellow tempera was brushed loosely over a darker colour underneath, possibly black ink. The presence of the yellow gives the impression of the beginnings of a smoggy sunrise or sunset, a visual motif often associated with Los Angeles and its combination of warm, sunny climate and automobile-induced pollution. The geometrically delineated station appears wholly separate from the vaguely gestural background – as if it is a two-dimensional cut-out stage set or film backdrop, referring back to the cinematic origins of the composition. \nThere is no sense of human presence at this gas station, where specificity is drained from the legible and highly anonymous visual image. There is also no sense of the landscape in which the station sits: the background is little more than an ironic nod to what a ‘painterly’ sky might look like, with its light washes of tempera standing in for a whole tradition of landscape painting. The station becomes a moveable, interchangeable icon, the very opposite of a functional building. The opaque black ink that cloaks the front of the building forecloses the possibility of entrance or exit: likewise, the gas pumps appear more like impassive sentinels than operational objects. Even the signs have been stripped of language – unlike the large Standard Station paintings, in Standard Study #3 the architecture remains empty of branding and signage, a void that cancels out the original photograph’s specificity. Ruscha has explained the rationale behind this decision, stating in an interview: ‘So I would look at a building and disregard the purpose of that building (in this case, a commercial outlet to sell gasoline). I was really more interested in this crazy little design that was repeated by all the gas companies to make stations with an overhang to create shade for their customers. It seemed to me a very beautiful statement.’ (Quoted in Wolf 2004, p.265.) \n\nFurther reading\n Sylvia Wolf, Ed Ruscha and Photography, exhibition catalogue, Whitney Museum of American Art, New York 2004. Margit Rowell and Cornelia Butler, Cotton Puffs, Q-tips, Smoke and Mirrors: the Drawings of Ed Ruscha, exhibition catalogue, Whitney Museum of American Art, New York 2004. \nStephanie Straine April 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "In 1963 Ruscha made a photographic book entitled ‘Twentysix Gasoline Stations’. It comprised of a selection of black and white snapshots drawn from a vast collection of images taken by the artist of petrol stations that he passed, or stopped at, as he travelled through the states of California, Arizona, Oklahoma, New Mexico and Texas. ‘Standard’ is the name of a petroleum company and this drawing is one of a number of paintings and works on paper that arose from the photographic project.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "architecture", "objects", "petrol pump", "petrol station", "public and municipal", "signage", "tools and machinery", "townscapes / man-made features" ]

null

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17641 17640 24 5014 86

false

artwork

Pastel and graphite on paper

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3,416

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MAD SCIENTIST

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00051

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Edward Ruscha

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MAD SCIENTIST depicts its two-word title in neat, centrally-aligned lettering. The letters display the untouched, off-white colour of the paper and are surrounded by a brightly coloured background of hazy pastel shades. These letters were not outlined by hand but were positioned on the white paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the powdery pastel was rubbed into the paper by hand and with rags, so that the white paper shows through in places to create an impression of diffuse light behind the pastel. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a preparatory medium of creative skill and self-expression. The flatness of the visual field, the floating text and the abstract coloured background are strongly reminiscent of advertising or film title design – both examples of endlessly reproduced mass media.

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1

https://media.tate.org.u…R/AR00051_10.jpg

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paper unique pastel graphite

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MAD SCIENTIST

1,975

ARTIST ROOMS Tate and National Galleries of Scotland

1975

CLEARED

5

support: 578 × 724 mm frame: 730 × 874 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nMAD SCIENTIST depicts its two-word title in neat, centrally-aligned lettering. The letters display the untouched, off-white colour of the paper and are surrounded by a brightly coloured background of hazy pastel shades. These letters were not outlined by hand but were positioned on the white paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the powdery pastel was rubbed into the paper by hand and with rags, so that the white paper shows through in places to create an impression of diffuse light behind the pastel. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a preparatory medium of creative skill and self-expression. The flatness of the visual field, the floating text and the abstract coloured background are strongly reminiscent of advertising or film title design – both examples of endlessly reproduced mass media.\nRuscha worked as a layout artist at a Los Angeles advertising agency after graduating from the Chouinard Art Institute in 1960, becoming the production designer for the influential Artforum magazine during 1965–9, under the pseudonym Eddie Russia. As the writer Mary Richards notes of works such as MAD SCIENTIST, ‘Legible and authoritative like painted signs, these statements look bold and factual even when the phrases are kooky’ (Richards 2008, p.71). This intentional mixing of visual authority with verbal jokiness is a key characteristic of Ruscha’s group of ‘catch-phrase’ drawings dating from the late 1970s in ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). These works build on Ruscha’s west coast pop art style of the early 1960s which established his reputation, replacing the slick visual representations of everyday objects and LA architecture (for example, Standard Study #3 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\">AR00050</a>) with a precise focus on the imaginative potential of language, while retaining the artist’s trademark playful irony. The critic Dave Hickey has observed of these textual snippets: ‘Like the drawings themselves, these words are at once objects and ideas.’ (Hickey 1998, p.33.) By maintaining this duality of material and concept, Ruscha’s words both engage with and escape linguistic signification, constantly toying with absurdity.\nIn the background, the softly blended areas of green, blue, yellow, orange and red pastel meet at the centre of the paper. The luminous colours are visually suggestive of the psychedelic counter-culture of the 1960s and 1970s, often associated with California and its free-spirited, relaxed way of life. In combination with this diaphanous, dusty and light-infused background, the phrase ‘MAD SCIENTIST’ is suggestive of a B-movie character from a science fiction caper, working obsessively in a laboratory in his tie-dye shirt. This juxtaposition of madness and humour is also seen in another of Ruscha’s catch-phrase drawings, I PLEAD INSANITY BECAUSE I’M JUST CRAZY ABOUT THAT LITTLE GIRL 1976 (Tate AR00053). The effect of the drawing is evocative rather than illustrative of any one idea; the work’s inherent ambiguity, provided by words and not pictures, prevents a definite conclusion, so that a filmic narrative is only hinted at.\nRuscha has lived and worked in Los Angeles since the age of eighteen. His artistic identity is intimately entwined with the city and its film industry. His work takes inspiration from the sprawling west coast metropolis and its role as producer of Hollywood myth and fantasy. Informed by the look, feel and sound of cinema, the image-free drawing MAD SCIENTIST evokes an array of filmic associations. Even the proportions of the paper connect to this preoccupation. The curator Margit Rowell has noted that in this group of drawings, ‘the almost universal format of nearly square rectangular sheets is … evocative of an illuminated movie screen. “If I’m influenced by the movies,” says Ruscha: “it’s from way down underneath, not just on the surface”’ (Rowell and Butler 2004, p.21).\n\nFurther reading \n Dave Hickey, ‘I Gotta Use Words When I Talk to You. Ed Ruscha’s Drawings’ in Ed Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998, pp.33–7, repr. p.33. Margit Rowell and Cornelia Butler, Cotton Puffs, Q-tips, Smoke and Mirrors: the Drawings of Ed Ruscha, exhibition catalogue, Whitney Museum of American Art, New York 2004. Mary Richards, Ed Ruscha, London 2008.\nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "During the mid 1970s, Ruscha made a series of drawings in pastel using pithy phrases against colourful backdrops. The sentences and phrases evoke American vernacular and slang, draw attention to a particular experience of the artist, or recall the excesses of Hollywood culture. The phrase in this work suggests the mad scientist as portrayed in the movies, but may also refer to the progress and experiments taking place in science in America during the 1960s and 1970s.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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null

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225 178 121 166 2342 185 12602 445 1986

false

artwork

Zinc oxide and pastel on paper

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Miracle 64

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00052

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Edward Ruscha

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Ruscha made a series of Miracle drawings in the mid-1970s. In these pastel drawings beams of light appear to burst forth from dark backgrounds. ‘Shafts of light and the word “Miracle” have always been synonymous,’ the artist has commented. Miracle is also the title of a short film Ruscha made in 1975. The beam of light in his picture could be seen as that of a cinema projector, referring to the miracle of moving pictures.Gallery label, July 2019

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1

https://media.tate.org.u…R/AR00052_10.jpg

1882

paper unique zinc oxide pastel

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Miracle #64

1,975

ARTIST ROOMS Tate and National Galleries of Scotland

1975

CLEARED

5

support: 1013 × 765 mm frame: 1190 × 937 × 40 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nMiracle #64 is a large pastel drawing on heavyweight paper. It depicts a bright beam of light entering a dark space from above, its source unknown. The radiating light divides and illuminates the mysterious, seemingly empty space of the drawing. The beam is rendered using yellow pastel and zinc oxide, a whitening pigment. The shaft travels down the paper on a slight diagonal, dispersing its yellow and white light across the murky black background. This background, which covers most of the paper surface, never achieves total opacity. Even in the furthest corners of the page, where the central light shaft does not appear to penetrate, the pastel coats the paper surface so that its original white state gives a shimmering luminosity beneath the layering of dark pigment. The beam is composed of a series of vertical slashes of yellow and white, which move from fairly solid bands to hazy areas of tonal gradations, dissolving into black. Unlike other drawings by Ruscha of this period there is no border to contain the image; instead the pastel medium is worked right to the edge of the paper, creating the impression of a boundless, infinite space. \nThe diffuse quality of the pastel application eliminates decisive graphic boundaries and contouring: in effect there is no linear element to the drawing style. Rather, it relies on a soft blending technique, the pastel rubbed into the slightly textured fabric of the paper, conveying the impression of particles of light floating through air with nothing solid to bounce off or reflect against. Miracle #64 belongs to a group of eight Miracle drawings Ruscha produced in the mid-1970s. These works are unusual in relation to the artist’s drawing practice of that time in that they are purely visual images, with no textual component. This contrasts with Ruscha’s ‘catch-phrase’ drawings (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-mad-scientist-ar00051\" title=\"View the details of this artwork\">AR00051</a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>), which depict vernacular phrases in stencilled lettering against coloured backgrounds. \nAs an image, Miracle #64 tends towards the cinematic, layering suggestions of a film projector beam and the chiaroscuro space of 1940s film noir. Ruscha has stated that during his time as a student at the Chouinard Art Institute in the late 1950s he ‘became aware of the art of the movies. I would forget the story but remember the emotion’ (Ruscha and Schwartz 2002, p.11). This early encounter with the emotional impact of Hollywood pictures had a long-lasting impact upon the artist’s work. Rather than tying his interest in cinema to a particular film or storyline, the cinematic becomes a pervasive mood that links many disparate entities. The artist has considered this aspect of his work: ‘“Hollywood dreams” – I mean, think about it. Close your eyes and what does it mean, visually? It means a ray of light, actually, to me, rather than a success story.’ (Ibid., p.221.) \nThe Miracle drawings also relate to a 35mm film made by Ruscha in 1975, also titled Miracle. The plot concerns a car mechanic; during the course of the short film, the grubby, oil-smeared overalls he wears are gradually transformed into a gleaming white version. This transition from dirtiness to sparkling cleanliness echoes the illumination of the beam in the drawing, opening up the darkened space to a cleansing light. Ruscha has commented on the Miracle film that: ‘It’s more like a blend and I like blends of things. The blend of things between one thing and another to me is like incompetency and almost a spiritual success, and all the blendings between, that’s my film, that’s “miracle”.’ (Ibid., p.81.) Blending is a crucial part of the application of pastel, and the artist’s use of the word ‘spiritual’ is telling. In addition to the filmic references, a beam of light is often associated with religious miracle, a link to the work’s title. A sense of mystery pervades the drawing. The artist, who was raised as a Catholic, has said: ‘There is a connection with my work and my experience with religious icons: the stations of the cross and the Church. Some of the flavours come over, like incense used in the Church, benediction … I liked the ritual. I liked the priest’s vestments – there was a deep mysterious thing that affected me.’ (Ibid., p.99.) \nThe visual motif of Miracle #64 reappears twenty years later in Ruscha’s Painting Without Words 1997 (J. Paul Getty Museum, Los Angeles), a twenty-six foot tall painting also of a vertical shaft of light, painted in acrylic on canvas (reproduced in Richards 2008, p.120). In a sketchbook page from 1997, the artist notes some preliminary ideas for this painting. At the very bottom of the page, a sentence reads: ‘I want a picture that is figurative but ageless’ (Ruscha and Schwartz 2002, p.346). In its duality of filmic and religious connotations, this description is equally applicable to Miracle #64. \n\nFurther reading \n Dave Hickey, ‘I Gotta Use Words When I Talk to You. Ed Ruscha’s Drawings’ in Ed Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998, pp.33–7, repr. p.34. Edward Ruscha and Alexandra Schwartz (eds.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Cambridge, Massachusetts and London 2002. Mary Richards, Ed Ruscha, London 2008, repr. p.121. \nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nRuscha made a series of Miracle drawings in the mid-1970s. In these pastel drawings beams of light appear to burst forth from dark backgrounds. ‘Shafts of light and the word “Miracle” have always been synonymous,’ the artist has commented. Miracle is also the title of a short film Ruscha made in 1975. The beam of light in his picture could be seen as that of a cinema projector, referring to the miracle of moving pictures.\n</div>\n", "display_name": "Display caption", "publication_date": "2019-07-26T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "emotions, concepts and ideas", "formal qualities", "light", "miracle", "natural phenomena", "rays", "religion and belief", "universal religious imagery" ]

null

true

12083 5740 70 3964 5731

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artwork

Pastel on paper

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3,418

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<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

I PLEAD INSANITY BECAUSE IM JUST CRAZY ABOUT THAT LITTLE GIRL

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00053

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

1,976

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This drawing’s ten-word title is arranged over six precisely centred lines of either one or two words that read across and down the horizontal sheet of paper. These letters were not outlined by hand but were positioned on the white paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the red powdery pastel was rubbed into the paper by hand and with rags, so that the white paper shows through in places to create an impression of diffuse light behind the particles of red pastel. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. The letters and words have no depth or internal contours, appearing like shallow incisions in the pastel field: a printed message in block capitals with unsettling connotations and unknown origins.

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I PLEAD INSANITY BECAUSE I’M JUST CRAZY ABOUT THAT LITTLE GIRL

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

5

support: 578 × 730 mm frame: 730 × 874 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis drawing’s ten-word title is arranged over six precisely centred lines of either one or two words that read across and down the horizontal sheet of paper. These letters were not outlined by hand but were positioned on the white paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the red powdery pastel was rubbed into the paper by hand and with rags, so that the white paper shows through in places to create an impression of diffuse light behind the particles of red pastel. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. The letters and words have no depth or internal contours, appearing like shallow incisions in the pastel field: a printed message in block capitals with unsettling connotations and unknown origins.\nRuscha worked as a layout artist at a Los Angeles advertising agency after graduating from the Chouinard Art Institute in 1960, later becoming the production designer for the influential Artforum magazine during 1965–9, under the pseudonym Eddie Russia. As the writer Mary Richards notes of works such as I PLEAD INSANITY…, ‘Legible and authoritative like painted signs, these statements look bold and factual even when the phrases are kooky’ (Richards 2008, p.71). This intentional mixing of visual authority with verbal jokiness is a key characteristic of Ruscha’s group of ‘catch-phrase’ drawings dating from the 1970s in ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). These works build on Ruscha’s west coast pop art style of the early 1960s which established his reputation, replacing the slick visual representations of everyday objects and LA architecture (for example, Standard Study #3 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\">AR00050</a>) with a precise focus on the imaginative potential of language, while retaining the artist’s trademark playful irony. The critic Dave Hickey has observed of these textual snippets: ‘Like the drawings themselves, these words are at once objects and ideas.’ (Hickey 1998, p.33.) By maintaining this duality of material and concept, Ruscha’s words both engage with and escape linguistic signification, constantly toying with absurdity.\nThe meaning of this particular sentence is purposefully ambiguous. It could be a lost shard from an overheard conversation or a movie script, floating free of context yet with a nagging sense of familiarity. With its rhythmic pacing and neat phrasing it reads more like a song lyric than anything spoken, a fragment of popular culture hinting at an intriguing narrative or a tantalising one-liner that sparks the imagination. The sentence is personal and anonymous at the same time. The doubling of ‘insanity’ with ‘crazy’ is both amusing and slightly sinister. Beneath the jaunty pop flavour of the work is a disturbing undertone: the suggestion of madness, however jokingly, in relation to an unknown crime, suggested by the opening words ‘I plead’. The language is more appropriate for a crush or infatuation with an adult than sentiments directed towards a child, if the ‘little girl’ is indeed a child. ‘Crazy’ has the pop song connotation of being deeply in love, whereas ‘insanity’ suggests actual mental illness or distress. This uncertain tension between the colloquial and medical concepts of insanity is visible in another of Ruscha’s ‘catch-phrase’ drawings, MAD SCIENTIST 1975 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-mad-scientist-ar00051\" title=\"View the details of this artwork\">AR00051</a>).\nThe colour red’s association with both danger and passion reinforces the dichotomy of love and madness in this drawing. The use of the first person (‘I plead’, ‘I’m just crazy’) adds another layer of intrigue in that it is unclear whether the subject position ‘I’ is meant to refer to the artist, the reader of the sentence (and viewer of the work), or some other character, be they real or imagined. As the artist himself poses in a rhetorical question: ‘isn’t disorientation one of the best things about making art?’ (Ruscha and Schwartz 2002, p.303).\n\nFurther reading \n Dave Hickey, ‘I Gotta Use Words When I Talk to You. Ed Ruscha’s Drawings’ in Ed Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998, pp.33–7, repr. p.39. Edward Ruscha and Alexandra Schwartz (eds.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Cambridge, Massachusetts and London 2002. Mary Richards, Ed Ruscha, London 2008, repr. p.71.\nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "During the mid 1970s, Ruscha made a series of drawings in pastel using pithy phrases against fields of colour. The sentences and phrases evoke American vernacular and slang, draw attention to a particular experience, or recall the excesses of Hollywood culture. The bright pink background in this work seems to suggest an amusing narrative. However, taken out of context, this particular sentence creates a sense of ambiguity, and could be either humorous or sinister.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "diseases and conditions", "inscriptions", "mental illness", "non-representational", "people", "symbols and personifications", "text", "title of work" ]

null

false

178 166 2342 185 445 1986

false

artwork

Pastel and graphite on paper

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3,419

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<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

PRETTY EYES ELECTRIC BILLS

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00054

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7023900 7014285 2001343 7007525 7012149

Edward Ruscha

1,976

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This drawing comprises a seven-word phrase that slightly, but significantly, expands upon the work’s four-word title. The text ‘SOME PRETTY EYES AND SOME ELECTRIC BILLS’ is arranged over three centred lines of three, then one, then three words, in the top half of the horizontally aligned sheet of paper. The neat letters display the untouched, off-white colour of the paper and are surrounded by a bright blue pastel background. These letters were not outlined by hand but were positioned on the paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the powdery pastel background was rubbed into the paper by hand and with rags, so that the white paper shows through in places to create an impression of diffuse light behind the particles of blue pastel. A fixative was then applied to maintain the crisp division between the text and the background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. This mechanical severity is then purposefully undermined by the sensuous application of pastel, a traditional medium of fine art, together with its hazy blue colour which brings to mind a bright sunny sky and the drawing’s horizontal format which also has a landscape association.

false

1

https://media.tate.org.u…R/AR00054_10.jpg

1882

paper unique pastel graphite

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PRETTY EYES, ELECTRIC BILLS

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

5

support: 574 × 721 mm frame: 726 × 870 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis drawing comprises a seven-word phrase that slightly, but significantly, expands upon the work’s four-word title. The text ‘SOME PRETTY EYES AND SOME ELECTRIC BILLS’ is arranged over three centred lines of three, then one, then three words, in the top half of the horizontally aligned sheet of paper. The neat letters display the untouched, off-white colour of the paper and are surrounded by a bright blue pastel background. These letters were not outlined by hand but were positioned on the paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the powdery pastel background was rubbed into the paper by hand and with rags, so that the white paper shows through in places to create an impression of diffuse light behind the particles of blue pastel. A fixative was then applied to maintain the crisp division between the text and the background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. This mechanical severity is then purposefully undermined by the sensuous application of pastel, a traditional medium of fine art, together with its hazy blue colour which brings to mind a bright sunny sky and the drawing’s horizontal format which also has a landscape association.\nIn this drawing, the juxtaposition of the phrases ‘PRETTY EYES’ and ‘ELECTRIC BILLS’ is incongruous; the first conjures romantic and evocative images while the second makes reference to a mundane chore. The artist has explained his own view of this drawing, stating: ‘Pretty Eyes, Electric Bills is my way of separating two subjects that are on the far end of the world from each other. This somehow gets to be the reason that I want to make a work of art of this discord.’ (Quoted in d’Offay 2009, p.80.)\nThese disparate statements are linked by the repetition of the word ‘some’ that precedes both phrases. As a qualifier, it is imprecise and vague – it does not reveal if these ‘pretty eyes’ belong to more than one person and it does not tell the viewer precisely how many ‘electric bills’ there are. As Ruscha himself has said, ‘I’ve always had a deep respect for things that are odd, for things that cannot be explained. Explanations seem to me to sort of finish things off’ (Ruscha and Schwartz 2002, p.305). Accepting the mystery of this dual statement is therefore paramount. The viewer can never hope to know for certain what it means: in all likelihood, there is no specific meaning, or only a very personal or anecdotal one. Ruscha worked as a layout artist at a Los Angeles advertising agency after graduating from the Chouinard Art Institute in 1960, becoming the production designer for the influential Artforum magazine during 1965–9, under the pseudonym Eddie Russia. As the writer Mary Richards notes of works such as PRETTY EYES, ELECTRIC BILLS, ‘Legible and authoritative like painted signs, these statements look bold and factual even when the phrases are kooky’ (Richards 2008, p.71). This intentional mixing of visual authority with verbal jokiness is a key characteristic of Ruscha’s group of ‘catch-phrase’ drawings dating from the 1970s in ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). These works build on Ruscha’s west coast pop art style of the early 1960s which established his reputation, replacing the slick visual representations of everyday objects and LA architecture (for example, Standard Study #3 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\">AR00050</a>) with a precise focus on the imaginative potential of language, while retaining the artist’s trademark playful irony. The critic Dave Hickey has observed of these textual snippets: ‘Like the drawings themselves, these words are at once objects and ideas.’ (Anthony d’Offay Gallery 1998, p.33.) By maintaining this duality of material and concept, Ruscha’s words both engage with and escape linguistic signification, toying with the absurdity of language. \nLikening the space of Ruscha’s word drawings to the endless landscapes of the western United States, the curator Neville Wakefield has commented: ‘The semaphore of fragmented messages that appear, disappear, and reappear across these deserted fields are drawn from the collective memory bank of songs, advertisements, billboards, brand names, platitudes, and the other disembodied voices that make up the langue trouvé of the motile world.’ (Ibid., p.28.) This suggests that the juxtaposition of the two unrelated phrases in PRETTY EYES, ELECTRIC BILLS is a fleeting occurrence that has no concrete or long-lasting meaning. The phrases may have just landed there, beside each other, in the vast imaginative space of Ruscha’s abstract field of colour. \n\nFurther reading\n \nEd Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998. Edward Ruscha and Alexandra Schwartz (eds.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Cambridge, Massachusetts and London 2002. Mary Richards, Ed Ruscha, London 2008. Anthony d’Offay and others, ‘Me, You, Us: Anthony d’Offay and others on ARTIST ROOMS’, TATE ETC., no.16, Summer 2009, pp.74–81. \nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "body", "eye", "inscriptions", "non-representational", "people", "symbols and personifications", "text", "title of work" ]

null

false

93 1572 166 185 445 1986

false

artwork

Pastel on paper

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3,420

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1,976

<a href="https://www.tate.org.uk/art/artists/edward-ruscha-1882" aria-label="More by Edward Ruscha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edward Ruscha</a>

SMELLS LIKE BACK OLD HOT RADIO

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00055

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Edward Ruscha

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SMELLS LIKE BACK OF OLD HOT RADIO comprises the title words in white against a brown background arranged across three centred lines of bold, capitalised lettering, widely spaced apart on the paper surface. The neat letters display the untouched colour of the paper and are surrounded by dull brown pastel. The letters were not outlined by hand but were positioned on the paper with preparatory pencil markings before acetate stencils, in the sans serif typeface, were laid on the paper. Once these inverse stencils were in place, the powdery pastel was rubbed into the paper by hand and with rags. A fixative was then applied to maintain the crisp division between the text and the background. After this process was completed the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters, completing the drawing. In his reliance upon the technical aids of graphic design, Ed Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. This drawing looks more like a printed reproduction than a unique creation of the artist’s hand. The flatness of the visual field, the floating text and banal background are strongly reminiscent of advertising or film title design – both examples of endlessly reproduced mass media.

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SMELLS LIKE BACK OF OLD HOT RADIO

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

5

support: 587 × 740 mm frame: 730 × 874 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSMELLS LIKE BACK OF OLD HOT RADIO comprises the title words in white against a brown background arranged across three centred lines of bold, capitalised lettering, widely spaced apart on the paper surface. The neat letters display the untouched colour of the paper and are surrounded by dull brown pastel. The letters were not outlined by hand but were positioned on the paper with preparatory pencil markings before acetate stencils, in the sans serif typeface, were laid on the paper. Once these inverse stencils were in place, the powdery pastel was rubbed into the paper by hand and with rags. A fixative was then applied to maintain the crisp division between the text and the background. After this process was completed the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters, completing the drawing. In his reliance upon the technical aids of graphic design, Ed Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. This drawing looks more like a printed reproduction than a unique creation of the artist’s hand. The flatness of the visual field, the floating text and banal background are strongly reminiscent of advertising or film title design – both examples of endlessly reproduced mass media. \nRuscha worked as a layout artist at a Los Angeles advertising agency after graduating from the Chouinard Art Institute in 1960, becoming the production designer for the influential Artforum magazine during 1965–9, under the pseudonym Eddie Russia. As the writer Mary Richards notes of works such as SMELLS LIKE BACK OF OLD HOT RADIO, ‘Legible and authoritative like painted signs, these statements look bold and factual even when the phrases are kooky’ (Richards 2008, p.71). This intentional mixing of visual authority with verbal jokiness is a key characteristic of Ruscha’s group of ‘catch-phrase’ drawings dating from the 1970s in ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). These works build on Ruscha’s west coast pop art style of the early 1960s which established his reputation, replacing the slick visual representations of everyday objects and LA architecture (for example, Standard Study #3 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\">AR00050</a>) with a precise focus on the imaginative potential of language, while retaining the artist’s trademark playful irony. The critic Dave Hickey has observed of these textual snippets: ‘Like the drawings themselves, these words are at once objects and ideas.’ (Hickey 1998, p.33.) By maintaining this duality of material and concept, Ruscha’s words both engage with and escape linguistic signification, constantly toying with absurdity.\nUnlike many of the other ‘catch-phrase’ drawings, this work’s title phrase evokes not only a visual memory or association but also an olfactory experience. The artist has explained: \n\n<blockquote>\nSMELLS LIKE BACK OF OLD HOT RADIO is based on a childhood experience: the aroma of a wooden-cased radio that has been turned on for an hour or so. It’s the declaration of a simple smell – the hot tubes within the radio mixing with the oils in the wood. Takes me back. </blockquote>\n<blockquote>(Quoted in d’Offay 2009, p.80.)</blockquote>\nThis is reinforced by the dark and dull brown pastel Ruscha used for the background. It suggests the colour of an old radio, but it also registers as something burnt, a surface that through many years of use has been repeatedly overheated and charred. Across this coloured surface, the dust particles of the pastel medium are visible on the paper. It is not a uniform finish – in some areas more of the white paper shows through, creating a patchy, irregular tone, densely worked and yet somehow still preliminary. \nThe overlapping and confusion of senses is taken even further when Ruscha’s concept of ‘visual noise’ is considered. Sight, sound and smell are all permitted to interact, producing a space of experimentation and visual playfulness within the drawing. The artist has said: \n\n<blockquote>I guess the idea of noise, of visual noise, somehow meant something to me, and still means something to me. The idea that you can say a lot in a small given area somehow has always intrigued me, and this seems to be one of the principal guidelines in my work. I never forget that I have a given space in which to make noise, or lose sight of the idea that it is going to echo whatever I feel. </blockquote>\n<blockquote>(Ruscha and Schwartz 2002, p.301.) </blockquote>\n\nFurther reading\n Dave Hickey, ‘I Gotta Use Words When I Talk to You. Ed Ruscha’s Drawings’ in Ed Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998, pp.33–7, repr. p.40. Edward Ruscha and Alexandra Schwartz (eds.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Massachusetts and London 2002. Mary Richards, Ed Ruscha, London 2008. Anthony d’Offay and others, ‘Me, You, Us: Anthony d’Offay and others on ARTIST ROOMS’, TATE ETC., issue 16, Summer 2009, pp.74–81. \nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "During the mid 1970s, Ruscha made a series of drawings in pastel using pithy phrases against fields of colour. The sentences and phrases evoke American vernacular and slang, draw attention to a particular experience or recall the excesses of Hollywood culture. Here, Ruscha brings to mind the evocative possibilities of simple aromas from our past. The work derives from a childhood memory the artist had of the smell that would emanate from a wooden radio after it had been playing for a period of time.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "electrical appliances", "inscriptions", "non-representational", "objects", "radio", "symbols and personifications", "text", "title of work" ]

null

false

81 166 185 4061 445 1986

false

artwork

Pastel on paper

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ARTISTS WHO DO BOOKS

2,008

[]

ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00056

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Edward Ruscha

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The white words ‘ARTISTS WHO DO BOOKS’ stand out against an intensely dark black pastel background, giving this drawing a stark appearance. The letters were not outlined by hand but were positioned on the white paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the powdery pastel was rubbed into the paper by hand and with rags to achieve a dense but smooth finish. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. This mechanical efficiency echoes the subject matter of the drawing: artists producing books of printed material in multiple editions, as opposed to creating unique works of art.

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ARTISTS WHO DO BOOKS

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

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support: 578 × 730 mm frame: 730 × 874 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThe white words ‘ARTISTS WHO DO BOOKS’ stand out against an intensely dark black pastel background, giving this drawing a stark appearance. The letters were not outlined by hand but were positioned on the white paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the powdery pastel was rubbed into the paper by hand and with rags to achieve a dense but smooth finish. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. This mechanical efficiency echoes the subject matter of the drawing: artists producing books of printed material in multiple editions, as opposed to creating unique works of art. \nRuscha worked as a layout artist at a Los Angeles advertising agency after graduating in fine art from the Chouinard Art Institute in 1960, becoming the production designer for the influential Artforum magazine from 1965–9, under the pseudonym Eddie Russia. The writer Mary Richards has compared Ruscha’s earlier single word paintings and drawings, such as HONK 1962 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-honk-ar00184\" title=\"View the details of this artwork\">AR00184</a>), with his late 1970s group of ‘catch-phrase’ drawings, of which ARTISTS WHO DO BOOKS is one example among many in ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). She says of the ‘catch-phrase’ works: ‘each can be seen as a puzzle or teaser. No longer detached objects, these words are now contextualised in sentences; instead of looking at the patterns of letters, one has to think, read, digest and process.’ (Richards 2008, p.71.) These imperatives are also necessary to understand and interpret the photographic books of conceptual art, pointing to the similarities between the consumption of visual and textual information. In Ruscha’s work, units of information are measured and processed equally – the ‘catch-phrase’ drawings present a written statement in the expected place of a visual image. \nIn her essay, Richards goes on to state: ‘Legible and authoritative like painted signs, these statements look bold and factual even when the phrases are kooky.’ (Ibid., p.71.) This intentional mixing of visual authority with verbal jokiness is a key characteristic of the ‘catch-phrase’ drawings. These works build on Ruscha’s west-coast pop art style of the early 1960s which established his reputation, replacing the slick visual representations of everyday objects and LA architecture (for example, Standard Study #3 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\">AR00050</a>) with a precise focus on the imaginative potential of language, while retaining the artist’s trademark playful irony. The critic Dave Hickey has observed of these textual snippets: ‘Like the drawings themselves, these words are at once objects and ideas.’ (Hickey 1998, p.33.)\nThis phrase drawing is less enigmatic and playful than others in the group, in that it names a specific group of people and is without obvious humour or witticism. The drawing may seem anonymous and detached, but as the writer Richard Marshall explains: ‘In certain of his pastel word drawings, the phrase can be self-referential and contain allusions to actual things. ARTISTS WHO DO BOOKS is an obvious reference to the artist’s own production of books.’ (Richards, p.161.) In the 1960s and early 1970s, Ruscha published sixteen books, including Every Building on the Sunset Strip 1966 (Tate Archive), a deadpan photographic project which became an icon for west-coast American conceptual art. The severely centred and monochromatic design scheme of ARTISTS WHO DO BOOKS is a reference to the black and white photographic publishing output of Ruscha and his contemporaries, which was intended as a sort of non-style, devoid of artistic judgment. This drawing forms a pair with ARTISTS WHO MAKE “PIECES” 1976 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-artists-who-make-pieces-ar00057\" title=\"View the details of this artwork\">AR00057</a>), and together they allude to conceptual art’s undoing of traditional artistic and technical categories. \n\nFurther reading \n Dave Hickey, ‘I Gotta Use Words When I Talk to You. Ed Ruscha’s Drawings’ in Ed Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998, pp.33–7, repr. p.37. Richard D. Marshall, Ed Ruscha, London and New York 2003, p.161, repr. p.169. Mary Richards, Ed Ruscha, London 2008, repr. p.7. \nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "During the mid 1970s, Ruscha made a series of drawings in pastel using pithy phrases against fields of colour. The sentences and phrases evoke American vernacular and slang, draw attention to a particular experience, or recall the excesses of Hollywood culture. In a number of these works Ruscha draws attention to his own work and to the practice of other conceptual artists working at the time. The monochromatic black and white points to Ruscha’s interest in making books, and particularly those he made dedicated to his series of black and white photographs.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "artist - non-specific", "arts and entertainment", "inscriptions", "non-representational", "symbols and personifications", "text", "title of work", "work and occupations" ]

null

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198 118 166 185 445 1986

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artwork

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ARTISTS WHO MAKE PIECES

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ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

AR00057

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Edward Ruscha

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This is a drawing comprising the words ‘ARTISTS WHO MAKE “PIECES”’ in white against a red and orange coloured ground. These letters were not outlined by hand but were positioned on the white paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the powdery pastel was rubbed into the paper by hand and with rags, so that the white paper would show through in places to create an impression of diffuse light behind the particles of red and orange pastel. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression.

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ARTISTS WHO MAKE “PIECES”

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ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

5

support: 578 × 726 mm frame: 730 × 874 × 38 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

<a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is a drawing comprising the words ‘ARTISTS WHO MAKE “PIECES”’ in white against a red and orange coloured ground. These letters were not outlined by hand but were positioned on the white paper using acetate stencils in the sans serif typeface. Once these inverse stencils were in place, the powdery pastel was rubbed into the paper by hand and with rags, so that the white paper would show through in places to create an impression of diffuse light behind the particles of red and orange pastel. A fixative was then applied to maintain the crisp division between text and background, before the acetate stencils were peeled back to reveal the bare, white paper surface of the individual letters. In his reliance upon the technical aids of graphic design, Ruscha subverts the common understanding of drawing as a medium of creative skill and self-expression. \nThe pastel background evokes a low, intense sunset, a charred sky of subtle gradations. This relates to what the writer Diedrich Diederichsen has termed Ruscha’s ‘various implicit possibilities’ in his backgrounds, particularly ‘when he fashions the background with “pictorial” means such as mixtures of deliberately graduated colours, so as to convey the Californian clichés of light, sun and leisure’ (Diederichsen 2000, p.8). Through an abstract colour-field technique, Ruscha creates a surface that is indelibly linked to a romantic, evocative image of California and its bountiful pleasures. The horizontal format further strengthens this association, but it is held in check by the graphic lettering technique. As the curator Margit Rowell has noted: ‘It is only around 1973 that Ruscha’s work developed toward a landscape conceit. The drawings are larger and feature pale block letters on a colored ground. The style of the lettering is clean and anonymous, with no relief or shading, and no oblique slants.’ (Rowell and Butler 2004, p.19.) \nRuscha worked as a layout artist at a Los Angeles advertising agency after graduating from the Chouinard Art Institute in 1960, becoming the production designer for the influential Artforum magazine during 1965–9, under the pseudonym Eddie Russia. As the writer Mary Richards notes of works such as ARTISTS WHO MAKE “PIECES”: ‘Legible and authoritative like painted signs, these statements look bold and factual even when the phrases are kooky.’ (Richards 2008, p.71.) This intentional mixing of visual authority with verbal jokiness is a key characteristic of Ruscha’s ‘catch-phrase’ drawings dating from the late 1970s, of which ARTISTS WHO MAKE “PIECES” is one example among many in ARTIST ROOMS (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053\" title=\"View the details of this artwork\">AR00053</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hollywood-tantrum-ar00059\" title=\"View the details of this artwork\">AR00059</a>). These works build on Ruscha’s west-coast pop art style of the early 1960s which established his reputation, replacing the slick visual representations of everyday objects and LA architecture (for example, Standard Study #3 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\">AR00050</a>) with a precise focus on the imaginative potential of language, while retaining the artist’s trademark playful irony. The critic Dave Hickey has observed of these textual snippets: ‘Like the drawings themselves, these words are at once objects and ideas.’ (Hickey 1998, p.33.) \nThis drawing forms a pair with ARTISTS WHO DO BOOKS 1976 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-artists-who-do-books-ar00056\" title=\"View the details of this artwork\">AR00056</a>), and together they allude to conceptual art’s undoing of traditional artistic and technical categories. Ruscha’s delicate pastel drawing seems retrograde in comparison with 1970s conceptualism’s emphasis on photographic documentation and written instruction and observation, and yet the drawing’s title statement suggests a potentially ambivalent relationship towards materiality and artistic process. Noting the self-reflexive and critical tone of this drawing, the curator Cornelia Butler declares ARTISTS WHO MAKE “PIECES” to be an example ‘of Ruscha’s distanced stance vis-à-vis movements, isms, and the ongoing attempts to categorize his work’ (Rowell and Butler 2004, p.34). By referring to a vague category of making, Ruscha appears to mock the desire to pigeonhole artists and define their output. The quotation marks around ‘pieces’ further attest to the slippery nature of definition, isolating and questioning the language of the art world and the danger of it degenerating into meaningless generalisation. \n\nFurther reading\n Dave Hickey, ‘I Gotta Use Words When I Talk to You. Ed Ruscha’s Drawings’, in Ed Ruscha: New Paintings and a Retrospective of the Works on Paper, exhibition catalogue, Anthony d’Offay Gallery, London 1998, pp.33–7, repr. p.37. Diedrich Diederichsen, ‘I Think She Did Have to Do That’, in Ed Ruscha: Gunpowder and Stains, exhibition catalogue, Sprüth Magers Galerie, Munich 2000, pp.7–10. Margit Rowell and Cornelia Butler, Cotton Puffs, Q-tips, Smoke and Mirrors: the Drawings of Ed Ruscha, exhibition catalogue, Whitney Museum of American Art, New York 2004. Mary Richards, Ed Ruscha, London 2008, repr. p.7\nStephanie Straine March 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "artist - non-specific", "arts and entertainment", "colour", "inscriptions", "monochromatic", "non-representational", "symbols and personifications", "text", "title of work", "work and occupations" ]

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198 118 225 166 9663 185 445 1986

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artwork