Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941 – 1991 Volume 3 - Flipbook - Page 605
w525
w527
w526
w526
w527
Blue Form with Wedge
Untitled
Alternative Title: {Blue Figure with
Wedge}
1977
Acrylic and graphite on paper
20 x 30 in. (50.8 x 76.2 cm)
Alternative Title: {Untitled (Blue and
Yellow Elegy Drawing)}
1977
Acrylic and graphite on Mylar
8½ x 26½ in. (21.6 x 67.3 cm)
InscrIptIons
Recto, upper left: R. Motherwell
Dec 77
InscrIptIons
Recto not signed, not dated
artIst’s studIo number
d77-3599
present owner
Dedalus Foundation
provenance
Dedalus Foundation, 1991
solo exhIbItIons
Manny Silverman Gallery, Los Angeles,
1997, cat. no. 26, as Blue Figure with
Wedge.
Galleria d’Arte il Gabbiano, Rome,
2006, cat. no. 11, color illus. p. 23, as
Blue Figure with Wedge.
Galleria d’Arte il Gabbiano, Rome,
2008, cat. no. 9, color illus. p. 23, as
Blue Figure with Wedge.
artIst’s studIo number
p77-1038; d80-3551
w528
An undated Polaroid photograph
shows an early version of this work
without the yellow paint, signed and
dated “77” in the lower right corner. It
is not known whether the yellow paint
was added soon after that Polaroid photograph was taken or at a later date.
This work was later used as
the basis for the 1991 lithograph
Mediterranean Light (Engberg and
Banach 2003, no. 524).
w528
Untitled (Study for The
Hollow Men)
Alternative Title: Untitled
1977
Acrylic and graphite on Mylar
13⅝ x 23 in. (34.6 x 58.4 cm)
InscrIptIons
Recto, upper right: RM 77
artIst’s studIo number
d77-1062
present owner
Private collection
present owner
Unknown
provenance
Dedalus Foundation, 1991; Lori Sklar
Art Consulting, 1991; private collection
provenance
Dedalus Foundation, 1991; Robert
Henry Adams Fine Art, 2001; [Wright,
Chicago, November 19, 2002, lot 202,
illus. (not sold)]; [Leslie Hindman
Auctioneers, Chicago, September 21,
2004, lot 1690, illus.]; unknown owner,
2004
comments
This work was done as a study for
Reconciliation Elegy (p956), a large-scale
painting commissioned by the National
Gallery of Art, Washington, D.C.
Although the mural was painted in black
and white, Motherwell used a good
deal of color in his early studies for it:
see Maquette for the National Gallery
Mural (c616).
solo exhIbItIons
Janie C. Lee Gallery, Houston, 1979,
cat. no. 98, illus. n.p. (in exhibition), as
Untitled.
p a i n tin gs on paper and paperbo ard
593
