1961 marks a pivotal moment in Totten’s career, departing from the subdued desert-inspired color palette that had characterized his previous work to embrace a more flamboyant and adventurous aesthetic, embarking on a creative exploration that resonated with the buoyant spirit of the era. This marked shift coincided with Totten’s deepening engagement with Synchromism, a movement spearheaded by Stanton MacDonald-Wright, under whose tutelage Totten had studied. Drawing inspiration from MacDonald-Wright, Totten absorbed the foundational principles of Synchromism, yet he always approached them as a catalyst for his own distinctive artistic vision.
Totten’s artistic process appears deceptively effortless, mirroring the demeanor of the man behind the brush. Modest, soft-spoken, and gentle, Totten embodied humility in his approach to his craft. Yet, beneath this unassuming exterior lay a profound commitment to his artistry. Immersed in the act of painting, Totten dedicated himself wholeheartedly to his practice, infusing each canvas with a palpable sense of daring and conviction.
To liken Totten’s oeuvre to that of luminaries such as Clifford Still or Edward Dugmore may seem audacious at first glance, however, upon closer examination, one discerns a shared mastery of abstract expressionism and a profound depth of artistic expression. Totten stands shoulder to shoulder with these titans, his capacity to produce profound abstract works attesting to his enduring legacy as a visionary artist.
….I follow the impressionists through Gauguin and Matisee, Delaunay, Wright and Russell. I believe with them that the real craft of the 20th century is color and that it is possible to build a kind of visual music using scale and chords…thus I am not afraid of using the words “lyric” or “poetic” used in connection to my work.
Don Totten
Color Structure circa 1960 is an exceptional example of what abstract painting was striving toward in this period. Abstract artists were informed by the artists before them but were creating visual structures that were freed from content and in search of expression that was unique. This composition is one which is highly successful at getting the viewer’s eye to react. Just like its title, it is mainly about color, but he is also working out a structure for it to speak to us. And if you think about the realm of abstract paintings and compare this composition to what you have seen, it becomes evident that this is a memorable and impressive work. The brilliancy of his building color from the outer edges of the canvas with luminous light toward a center that is earthy and rich in depth is truly beautiful.
Don Totten: Los Angeles Modernist, 1997, Palos Verde Art Center, Ranchos Palo Verdes, CA., March 15 – April 27, 1997, illus p. 33
Three Man Exhibition: Doris Dean, Miriam Stein, Donald Totten, Pasadena Art Museum (now the Norton Simon Museum), March 6 - April 9 1960