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Composition, 1953
Adolph Gottlieb
Ink and wash on paper
14 x 21 inches
Framed: 24 1/4 x 31 1/2 inches
Signed: Adolph Gottlieb 1953 lower right
Adolph Gottlieb, Composition, 1953
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451 
of 768
artist Description provenance

artist

Adolph Gottlieb is credited with being one of the founding member s of The Ten, a group of artists dedicated to abstract art. The group numbered amongst its members Marc Rothko and William Baziotes. Gottlieb was a major proponent of Abstract Expressionism and is considered amongst the first generation of Abstract Expressionists along with Rothko, Clyfford Still, and Barnet Newman, Willem de Kooning, and Jackson Pollack. In 1943 Gottlieb and Rothko wrote a letter to "The New York Times," in which they made the first formal statement of Abstract Expressionism:

 

“We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.”

 

During this time Gottlieb’s reputation as an important artist was confirmed. A major “double exhibition” at the Guggenheim Museum and the Whitney Museum of American Art in 1968 solidified his place in the annals of Abstract expressionism.

Description

Throughout his career Adolph Gottlieb continuously experimented, exploring new painting styles and seeking new challenges. In the 1950’s he began a new series of works referred to as Grids and Imaginary Landscapes. These pictures followed his Pictograph Format works. In these later creations Gottlieb chose to divide his canvas or in our example his paper into two parts, which then became like an imaginary landscape. In these works Gottlieb retained his prior use of a pseudo-language but added the new element of space. These pictures were not landscapes in the traditional sense of the word but rather modifications of landscapes to match his own personal style of painting. Here Gottlieb painted simple figures or forms in both the foreground and the background so that the overall work reflected a certain depth. Often celestial-like bodies appeared in the upper part of the canvas or paper, while an imaginary semi-abstract landscape of sorts appeared in the bottom in an overall loosely painted gestural chaos. These imaginary landscapes had fewer shapes than his previous pictograph series. The relationships between the shapes in the imaginary landscapes thus became stronger, more concentrated, and consequently more important than the forms themselves.

provenance

Sotheby’s New York, Jan. 1966

Estate of Joseph Mazer, New York

By descent to private collection

Abby M. Taylor Fine Art

Private collection, New York City, 2015 to present

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