Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941 – 1991 Volume 3 - Flipbook - Page 9
Whenever possible, the photographers’ archival numbers are given in
and therefore part of the work, or plays a role in the visual effect
the Comments.
of the work (such as being visible under translucent areas), as in
The dates we give here sometimes vary from those given in past
The Voyage (p87). If the mounting onto panel was not done under the
publications. Our dates are based on extensive and detailed research
supervision of the artist—for example, Gesture Series No. 1 (w373)—or
and supersede the dates that have been previously assigned to the
if the panel is not directly visible or does not play a role in the appear-
works in question. Issues related to the revision and redating of works
ance of the work, the work is considered a painting on paper; for
are often discussed in the Comments.
example, The Figure 4 on an Elegy (w104).
Works in dry, graphic materials (such as charcoal) on supports
materials (mediums and supports)
with painted grounds, such as canvas, canvas board, Masonite, or
For paintings on canvas or panel (P) and paintings on paper (W),
toned Upson board, are grouped with paintings on canvas or panel.
the order of the description of materials is as follows: paint medium,
other solid materials (such as sand), graphic materials (if any),
dimensions
and support.
Height precedes width. Dimensions are given in inches (using frac-
For collages (C), the order of the description of materials is
as follows: paint, other solid materials such as sand (if any), pasted
materials, graphic materials, and support.
The main paint mediums for both paintings on canvas or
tions to the nearest eighth), followed by centimeters in parentheses
(using decimals rounded off to the nearest tenth).
We distinguish between dimensions that have been taken directly
from the work by us or by others and dimensions that have been
panel and paintings on paper are designated as follows: oil, acrylic,
approximated by calculating the relative sizes of works in photographs.
casein, and tempera; occasionally, sand or dry pigments were mixed
If the dimensions of a work are not known and cannot be
into the paint. (Water-based paints have been variously described as
approximated, they are described as “Dimensions unknown.”
tempera and casein. Although we have tried to be as precise as possible, in some cases we have received conflicting information about
inscriptions
whether a work was executed in tempera or casein, and it has not been
The Inscriptions field contains signatures, dates, and other inscrip-
possible to verify exactly which was used.)
tions that appear on either the front (recto) or the back (verso) of a
The main pasted materials in collages are paper and card-
work. Only inscriptions in Motherwell’s own hand are included;
board; sometimes other materials were used, such as wood veneer and
verso inscriptions made by others and information on labels are
animal skin. (While we attempt to identify the sources of paper and
not included.
cardboard elements, such as the brands of cigarettes and other products in the Comments, we do not identify types or brands of paper in
the line for mediums and supports.)
Motherwell also used a number of dry graphic materials in his
If the recto of a work has no inscriptions, this is noted as “Recto
not signed, not dated.”
If a painting on canvas or panel has no verso inscriptions, or the
verso has not been seen, this is noted as “Verso not signed, not dated,”
paintings and collages, mainly charcoal, graphite, chalk, ink, crayon,
or “Verso not seen.” If a collage or painting on paper has no verso
Conté crayon, and China marker.
inscriptions, or the verso has not been seen, the verso inscription line
The main supports for paintings on canvas or panel are as
is omitted. This is because many fewer collages and paintings on
follows: canvas, canvas board (both commercial and studio-made),
paper contain verso inscriptions, and because those inscriptions that
Masonite, wood, Upson board, Bone Board, or any other composite
may exist are usually covered by mounting or have been removed
board panel other than paperboard.
by framing.
The main supports for paintings on paper are as follows:
For each work, the recto and verso inscriptions are listed sepa-
paper, various kinds of paperboard (such as rag board, illustration
rately, with the word “Recto” or “Verso” followed by a colon. The
board, cardboard, Tycore, or mat board), or Mylar and other kinds of
inscription itself follows the colon. In the inscription, all signatures,
flexible plastic sheets.
dates, titles, and so forth are given exactly as Motherwell wrote them.
The main supports for collages are canvas, canvas board,
Upson board, paper, and paperboard.
Works executed on paper but mounted onto panel or board
under the artist’s supervision have been grouped with paintings on
canvas or panel if the panel or board has been painted on, is visible
A line break in a signature or inscription is designated by a backward
slash set off by a single empty space between it and whatever precedes
or follows it.
Additional descriptive information about the inscriptions on a
work is given in square brackets or parentheses to the left of the colon.
key to t he c at alo gue entries
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