Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941 – 1991 Volume 3 - Flipbook - Page 8
paperboard. Within each category sequence, the numbering reflects
appears on a studio inventory card, a studio list, or a gallery shipping
the general chronological order of the works.
list). Errors regarding titles in published sources are noted only in the
references to those sources, not in the Alternative Title line.
title
We prefer titles that are inscribed on the work, that were used in pub-
Translations of Motherwell’s English-language titles in foreign
exhibitions or publications are not given as Alternative Titles.
lic exhibitions or publications of the work, or that reflect Motherwell’s
stated preference as the title of the work. But these three kinds of infor-
date
mation sometimes conflict: inscribed titles sometimes refer to earlier
Motherwell frequently reworked his paintings and collages, sometimes
versions that have been radically altered; titles used in public exhibi-
years or even decades after they had been begun. As a result, the dates
tions were sometimes later changed; and many works that remained in
that he inscribed on his works frequently indicate when they were
the artist’s studio were never given formal titles. The latter were often
started rather than when they were finished. Often works remained in
given “studio titles”—descriptive titles that were normally entered on
his studio continuously between the times when they were revised; but
the 5 x 8–inch inventory cards known as “studio cards.” Sometimes
almost as frequently, they were sent out on consignment or to exhibi-
pictures went out into the world with such titles, but more frequently
tions, or published, or both, before they were reworked. In order to
they were given formal titles when Motherwell consigned them to a
convey these different conditions in a succinct manner, dates or ranges
gallery or exhibited them. Many of the works in his studio at the time
of dates are expressed in different ways in this publication, depending
of his death had been given only studio titles.
on the specific circumstances under which the works were revised.
In the catalogue entries, we have used codes to differentiate
If a picture was done within a single year, it is dated simply
between studio titles given to works during Motherwell’s lifetime and
to that year, such as 1961, or, if the exact date is uncertain, ca. 1961.
titles given posthumously by the Dedalus Foundation: lifetime stu-
When a picture was worked on over the course of more
dio titles are enclosed within square brackets [ ] and posthumous
than one year and did not leave the studio during that time, its
studio titles within braces { }. These codes, it should be noted, are
date range is given with the starting and finishing dates separated by a
used only in the entries for this catalogue raisonné. When such works
dash (as in 1961–64).
are referred to elsewhere in this publication, the brackets and braces
are not used.
Works that are part of a series, whether done at the same time
or over a period of several years, are given normative titles without a
comma before the number of the work within the series. We use “No.”
If a picture was started in one year, then left the studio on
consignment or for an exhibition before it was reworked at another
time, its starting and finishing dates are separated by a forward slash
(as in 1961/1964).
If Motherwell worked on a picture continuously over a
to designate “Number,” even if the title inscribed on the back of the
period of time, sent it out, then had it returned to him and
work uses a number sign to designate the number of the work within
revised it, the dates are separated by both dashes and forward slashes
the series. The use of Arabic numbers and Roman numerals generally
(as in 1961–64/1973).
follows Motherwell’s own (often inconsistent) use of those two numbering systems.
Not all works in all series were given numbers, and the numbering of series often has gaps, repetitions, or both.
This process of revision after exhibition or consignment was
sometimes repeated, so the date of a work can be expressed in terms
as complex as 1975–77/1982/1985/1988. The placement of such a work
within the chronological sequence of works in its medium category
would depend on the main characteristics of its present form. A work
alternative title(s)
with a history of revision as complex as this one could be placed among
A number of works have had more than one valid title over time.
works from a number of different years, ranging from 1975 to 1988,
These other titles are listed under Alternative Title(s). They include
depending on the nature of the revisions that were made. Pictures that
titles that were at one time used publicly in exhibitions or publica-
were worked on at more than one time are placed according to when
tions, and titles that are inscribed on the versos of works but that have
they took on their most salient characteristics. As a result, some pic-
been superseded by other titles.
tures are placed chronologically by when they were started, while oth-
Alternative titles are listed in chronological order, beginning
ers are placed according to when they were finished, and still others
with the earliest. Some alternative titles were public titles (the work
are placed according to the date of a determinant intermediate state.
was publicly exhibited under that title, or the title appears on an exhibition checklist), while others were not (for example, a title that
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key to the cata l o gu e e n t r i e s
In establishing the dates of works, we have made extensive use
of photographs taken of works at various stages in their development.
