Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941 – 1991 Volume 3 - Flipbook - Page 38
c25
illus. n.p. (fig. 137); Caws 2003, illus.
p. 29 (ill. 21).
c25
Maria
comments
This collage contains a piece of one
of the German wrapping papers that
Motherwell had been using in his
collages since 1943.
solo exhibitions
Samuel M. Kootz Gallery, New York,
January 1946, cat. no. 15.
1945
Oil, pasted papers, charcoal, and sand
on paperboard
30 x 24 in. (76.2 x 61 cm)
Arts Club of Chicago, 1946 (traveling),
cat. no. 13.
inscriptions
Recto, lower left, incised [painted over]:
[R Motherwell 45]
artist’s studio number
c45-5015
present owner
Private collection
provenance
Samuel M. Kootz Gallery, 1945; private
collection, ca. 1952; private collection,
1997
26
collages
group exhibitions
Museum of Modern Art, New York,
September 1946 (traveling), cat. no. 65,
illus. p. 38; not shown in Bloomington.
references
Seitz 1955, illus. n.p. (fig. 154);
Wescher 1968, p. 301; Seitz 1983, illus.
n.p. (fig. 166); Mattison 1985b, p. 168,
illus. n.p. (fig. 139), referred to in text
and in illus. as For Maria; Mattison
1987, p. 143, as For Maria.
comments
This collage is one of three portraits
Motherwell made of his first wife,
Maria Emilia Ferreira y Moyers (see
also p1 and p70). Although historical
personages are referred to in the titles
of other works from this period, such as
Pancho Villa, Dead and Alive (c7), the
portraits of Maria are the only ones in
which Motherwell named in the title a
person he actually knew.
