Elegy to the Spanish Republic No. 110,
Robert Motherwell 1971
January 24, 1915|
|Died||July 16, 1991
|Education||Stanford University, Harvard, Columbia University|
|Known for||Painting, Printmaking|
Robert Motherwell (January 24, 1915 – July 16, 1991) was an American painter, printmaker, and editor. He was one of the youngest of the New York School (a phrase he coined), which also included Philip Guston, Willem de Kooning, Jackson Pollock, and Mark Rothko.
Early life and education
Robert Motherwell was born in Aberdeen, Washington on January 24, 1915, the first child of Robert Burns Motherwell II and Margaret Hogan Motherwell. The family later moved to San Francisco, where Motherwell's father served as president of Wells Fargo Bank. Due to the artist's asthmatic condition, Motherwell was reared largely on the Pacific Coast and spent most of his school years in California. There he developed a love for the broad spaces and bright colours that later emerged as essential characteristics of his abstract paintings (ultramarine blue of the sky and ochre yellow of Californian hills). His later concern with themes of mortality can likewise be traced to his frail health as a child.
Between 1932 and 1937, Motherwell briefly studied painting at California School of Fine Arts, San Francisco and received a BA in philosophy from Stanford University. At Stanford Motherwell was introduced to modernism through his extensive reading of symbolist and other literature, especially Mallarmé, James Joyce, Edgar Allan Poe, and Octavio Paz. This passion stayed with Motherwell for the rest of his life and became a major theme of his later paintings and drawings.
At the age of 20 Motherwell traveled to Europe with his father and sister. They made a Grand Tour starting in Paris, then went to Amalfi, Italy; Switzerland; Germany; The Netherlands; and London; and ended in Motherwell, Scotland.
From Motherwell's own words, the reason he went to Harvard was because he wanted to be a painter, while his father urged him to pursue a more secure career: "And finally after months of really a cold war he made a very generous agreement with me that if I would get a Ph.D. so that I would be equipped to teach in a college as an economic insurance, he would give me fifty dollars a week for the rest of my life to do whatever I wanted to do on the assumption that with fifty dollars I could not starve but it would be no inducement to last. So with that agreed on Harvard then—it was actually the last year—Harvard still had the best philosophy school in the world. And since I had taken my degree at Stanford in philosophy, and since he didn't care what the Ph.D. was in, I went on to Harvard."
At Harvard, Motherwell studied under Arthur Oncken Lovejoy and David Wite Prall; to research the writings of Eugène Delacroix he spent a year in Paris, where he met an American composer Arthur Berger. In fact, it was Berger who advised Motherwell to continue his education at Columbia University, under Meyer Shapiro.
The New York School and the Surrealists
In 1940, Motherwell moved to New York to study at Columbia University, where he was encouraged by Meyer Schapiro to devote himself to painting rather than scholarship. Shapiro introduced the young artist to a group of exiled Parisian Surrealists (Max Ernst, Duchamp, Masson) and arranged for Motherwell to study with Kurt Seligmann. The time that Motherwell spent with the Surrealists proved to be influential to his artistic process. After a 1941 voyage with Roberto Matta to Mexico—on a boat where he met Maria, an actress and his future wife—Motherwell decided to make painting his primary vocation. The sketches Motherwell made in Mexico later evolved into his first important paintings, such as Little Spanish Prison (1941), and Pancho Villa, Dead and Alive (1943) (both in MoMA collection).
It was Matta who introduced Motherwell to the concept of “automatic” drawings. The Surrealists often deployed the process of automatism, or abstract “automatic” doodling to tap into their unconscious. This concept had a lasting effect on Motherwell, but it was conceptually changed, when Motherwell met Wolfgang Paalen in Mexico and decided to prolong his stay and to spent several months in his studio. Motherwell´s famous Mexican Scetchbook visually reflect this conceptual change: while the first drawings are somehow analyzing copies of examples by Matta and Tanguy, the drawings, done in Paalen´s atelier or during his studies with Paalen show more plane graphic cadences, swelling ink-spots as a pictorial access to yet unseen or possible figurations, remembering the fumage-spots which also relinquished traditional aspects of perspective and suggested swelling ephemeral shapes. It was also Paalen who introduced Motherwell to André Breton with an introduction letter. The consequences and influences on various levels and on other American painters such as Jackson Pollock, Lee Krasner and William Baziotes, whom Motherwell befriended in New York after a trip to Mexico, are not finally explored. In 1991, shortly before he died, Motherwell remembered a "conspiracy of silence" regarding Paalen´s innovative role to the genesis of Abstract Expressionism.
Upon return from Mexico Motherwell spent time developing his creative principle based on automatism: "what I realized was that Americans potentially could paint like angels but that there was no creative principle around, so that everybody who liked modern art was copying it. Gorky was copying Picasso. Pollock was copying Picasso. De Kooning was copying Picasso. I mean I say this unqualifiedly. I was painting French intimate pictures or whatever. And all we needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, and that's what Europe had that we hadn't had; we had always followed in their wake. And I thought of all the possibilities of free association—because I also had a psychoanalytic background and I understood the implications—might be the best chance to really make something entirely new which everybody agreed was the thing to do."
Thus, in the early 1940s, Robert Motherwell played a significant role in laying the foundations for the new movement of Abstract Expressionism (or the New York School): "Matta wanted to start a revolution, a movement, within Surrealism. He asked me to find some other American artists that would help start a new movement. It was then that Baziotes and I went to see Pollock and de Kooning and Hofmann and Kamrowski and Busa and several other people. And if we could come with something. Peggy Guggenheim who liked us said that she would put on a show of this new business. And so I went around explaining the theory of automatism to everybody because the only way that you could have a movement was that it had some common principle. It sort of all began that way."
In 1942 Motherwell began to exhibit his work in New York and in 1944 he had his first one-man show at Peggy Guggenheim’s “Art of This Century” gallery; that same year the MoMA was the first museum to purchase one of his works. From the mid-1940s, Motherwell became the leading spokesman for avant-garde art in America. His circle came to include William Baziotes, David Hare, Barnett Newman, and Mark Rothko, with whom he eventually started the Subjects of the Artist School (1948–49). In 1949 Motherwell divorced Maria Emilia Ferreira y Moyeros and in 1950 he married Betty Little, with whom he had two daughters.
In 1948, he began to work with his celebrated Elegy to the Spanish Republic theme, which he continued to develop throughout his life. Motherwell intended his Elegies to the Spanish Republic (over 100 paintings, completed between 1948 and 1967) as a "lamentation or funeral song" after the Spanish Civil War. His recurring motif here is a rough black oval, repeated in varying sizes and degrees of compression and distortion. Instead of appearing as holes leading into a deeper space, these light-absorbent blots stand out against a ground of relatively even, predominantly white upright rectangles. They have various associations, but Motherwell himself related them to the display of the dead bull's testicles in the Spanish bullfighting ring.
Throughout the 1950s Motherwell also taught painting at Hunter College in New York and at Black Mountain College in North Carolina. Cy Twombly, Robert Rauschenberg and Kenneth Noland studied under and were influenced by Motherwell. At this time, he was a prolific writer and lecturer, and in addition to directing the influential Documents of Modern Art Series, he edited The Dada Painters and Poets: An Anthology, which was published in 1951.
From 1954 to 1958, during the break-up of his second marriage, he worked on a small series of paintings which incorporated the words Je t’aime, expressing his most intimate and private feelings. His collages began to incorporate material from his studio such as cigarette packets and labels becoming records of his daily life. He was married for the third time, from 1958 to 1971, to Helen Frankenthaler, a successful abstract painter.
In 1958–59, Motherwell was included in “The New American Painting” exhibition, initiated by the Museum of Modern Art, which traveled across Europe. That year he traveled in Spain and France, where he started his Iberia series. During the 1960s, Motherwell exhibited widely in both America and Europe and in 1965 he was given a major retrospective exhibition at the Museum of Modern Art; this show subsequently traveled to Amsterdam, London, Brussels, Essen, and Turin.
In 1962 Motherwell and Frankenthaler spent the summer at the artists’ colony at Provincetown, Massachusetts, where the coastline inspired the "Beside the Sea" series of 64 paintings, the oil paint splashed with full force against rag paper imitating the sea crashing on the shore in front of his studio.
In 1965 Motherwell worked on another prominent series called the The "Lyric Suite", named after Alban Berg’s string quartet. Motherwell recalled, “I went to a Japanese store to buy a toy for a friend’s kid, and I saw this beautiful Japanese paper and I bought a thousand sheets. And made up my mind, this was in the beginning of April 1965, that I would do the thousand sheets without correction. I’d make an absolute rule for myself. And I got to 600 in April and May, when one night my wife and I were having dinner and the telephone rang. And it was Kenneth Noland in Vermont saying that I should come immediately. And I said, ‘what’s happened?’ And he said, ‘David Smith’s been in an accident’.” Smith, the sculptor, was Motherwell and Frankenthaler’s great friend. Jumping into their Mercedes they sped to Vermont but arrived 15 minutes after Smith had died. Motherwell stopped work on the series. He said of them: “And then one year I had them all framed, and I like them very much now. I should also say that I half painted them and they half painted themselves. I’d never used rice paper before except occasionally as an element in a collage. And most of these were made with very small, I mean very thin lines. And then I would look at amazement on the floor after I’d finished. It would spread like spots of oil and fill all kinds of strange dimensions.”
In 1967, Motherwell began to work on his Open series. Inspired by a chance juxtaposition of a large and small canvas, the Open paintings occupied Motherwell for nearly two decades. Intimate and meditative, the Opens consist of limited planes of colour, broken up by minimally rendered lines in loosely rectangular configurations. As the series progressed, the works became more complex and more obviously painterly, as Motherwell worked through the possible permutations of such reduced means.
In 1970, Motherwell moved to Greenwich, Connecticut. During the 1970s, he had important retrospective exhibitions in a number of European cities, including Düsseldorf, Stockholm, Vienna, Paris, Edinburgh, and London. In 1977, Motherwell was given a major mural commission for the new wing of the National Gallery of Art, Washington, D.C.
In 1983, a major retrospective exhibition of Motherwell’s work was mounted at the Albright-Knox Art Gallery in Buffalo, New York; this exhibition was subsequently shown in Los Angeles, San Francisco, Seattle, Washington, D.C., and New York City. Another retrospective was shown in Mexico City, Monterey, and Fort Worth, Texas, in 1991.
Robert Motherwell died in Provincetown, Massachusetts on July 16, 1991. On Motherwell's death, Clement Greenberg, the great champion of the New York School, left in little doubt his esteem for the artist, commenting that, "although he is underrated today, in my opinion he was one of the very best of the Abstract Expressionist painters".
Motherwell was a member of the editorial board of the surrealist magazine VVV and a contributor of Wolfgang Paalens journal DYN, which was edited 1942-44 in six numbers. He also edited Paalens collected essays Form and Sense in 1945 as the first Number of Problems of Contemporary Art.
Death and legacy
Dedalus Foundation was set up by Robert Motherwell in 1981 to educate the public by fostering public understanding of modern art and modernism through its support of research, education, publications, and exhibitions in this field. When Motherwell died on July 16, 1991, he left an estate then estimated at more than $25 million and more than 1,000 works of art, not including prints. His will was filed for probate in Greenwich and named as executors his widow, Renate Ponsold Motherwell, and longtime friend Richard Rubin, a professor of political science at Swarthmore College.
On July 20, 1991, several hundred people attended a memorial service for Motherwell on the beach outside his Provincetown home. Among them were the writer Norman Mailer and the photographer Joel Meyerowitz, both Provincetown summer residents. Speakers included the poet Stanley Kunitz, who read a poem that was a favorite of Motherwell's, William Butler Yeats's Sailing to Byzantium; Senator Howard M. Metzenbaum, Democrat of Ohio, an acquaintance of Motherwell's; and other artists, friends, and family members.
Selected solo exhibitions
Art Gallery of Ontario, Canada (2011); Museum Morsbroich, Leverkusen, Germany (2004–05); Fundació Antoni Tàpies, Barcelona, Spain (1996–97, traveled); Museo Rufino Tamayo, Mexico City, Mexico (1991–92, traveled); Walker Art Center, Minneapolis, Minnesota (1985); Albright-Knox At Gallery, Buffalo, New York (1983, traveled); Fundación Juan March, Madrid, Spain (1980); The William Benton Museum of Art, University of Connecticut, Storrs (1979); Royal Academy of Art, London, England (1978); Musée d’art moderne de la ville de Paris, France (1977); Stadtisches Kunsthalle, Düsseldorf, Germany (1976); Museo de Arte Moderna, Mexico City, Mexico (1975); Princeton University Art Museum, New Jersey (1973); David Mirvish Gallery, Toronto, Ontario, Canada (1973); The Museum of Fine Arts, Houston, Texas (1972–73, traveled); The Museum of Modern Art, New York (1965); The Phillips Collection, Washington, D.C. (1965); Smith College Museum of Art (1963); Pasadena Art Museum, California (1962); Galerie Heinz Berggruen, Paris, France (1961); Bennington College, Bennington, Vermont (1957); Peggy Guggenheim’s Art of this Century Gallery, New York (1944).
- Mattison, Robert S. (2009). Robert Motherwell : Open. London: 21 Publishing. p. 10. ISBN 978-1-901785-12-8.
- Robert Motherwell : Open. London: 21 Publishing. 2009. p. 169. ISBN 978-1-901785-12-8.
- Archives of American Art. "Oral history interview with Robert Motherwell, 1971 Nov. 24-1974 May 1 - Oral Histories | Archives of American Art, Smithsonian Institution". Aaa.si.edu. Retrieved 2011-12-07.
- Oral history interview with Robert Motherwell, 1971 Nov. 24-1974 May 1, Archives of American Art, Smithsonian Institution
- Mattison, Robert S. (2009). Robert Motherwell : open. London: 21 Publishing. p. 10. ISBN 978-1-901785-12-8.
- Rosand, ed. by David (1997). Robert Motherwell on paper : drawings, prints, collages ; [publ. on the occasion of the Exhibition "Robert Motherwell on Paper: Drawings, Prints, Collages" at the Miriam and Ira D. Wallach Art Gallery, Columbia University, New York]. New York: Abrams. ISBN 0-8109-4294-1.
- See also Martica Sawin: Surrelism in Exile and the Beginning of the New York School, Cambridge, Mass., 1995, p. 258
- Andreas Neufert, Auf Liebe und Tod. Das Leben des Surrealisten Wolfgang Paalen, Berlin (Parthas) 2015, p. 465f.
- Mattison, Robert S. "Robert Motherwell". Oxford University Press. Retrieved 03.08.2011. Check date values in:
- Robert Motherwell in an interview with Elisabeth T. Langhorne, who wrote to Andreas Neufert, the biographer of Paalen: "I hope that [my book] Jackson Pollock: Kunst als Sinnsuche helps to rectify the case of Paalen and, as Motherwell put it, the ›conspiracy of silence‹ as to his role in the formation of Abstract Expressionism.« Elisabeth T. Langhorne to Andreas Neufert, June 13th, 2013 cit. Andreas Neufert, Auf Liebe und Tod. Das Leben des Surrealisten Wolfgang Paalen, Berlin (Parthas) 2015, p. 452, note 67
- Cummins, Paul. "Oral history interview with Robert Motherwell, 1971 Nov. 24-1974 May 1, Archives of American Art, Smithsonian Institution". Retrieved 03.08.2011. Check date values in:
- Caws, Mary Ann (2003). Robert Motherwell : with pen and brush. London: Reaktion. p. 17. ISBN 1-86189-141-5.
- "The Collection | Robert Motherwell. Elegy to the Spanish Republic, 108. 1965-67". MoMA. Retrieved 2011-12-07.
- "Biography". The Dedalus Foundation. Retrieved 2011-12-07.
- "Bernard Jacobson Gallery". Jacobsongallery.com. Retrieved 2011-12-07.
- Young, Dennis. "Interview with Robert Mothwerwell, AGO, 1970".
- "Bernard Jacobson Gallery". Jacobsongallery.com. Retrieved 2011-12-07.
- Glueck, Grace (July 18, 1991). "Robert Motherwell, Master of Abstract, Dies". The New York Times. Retrieved April 29, 2013. Note correction at the bottom of the page.
- Grace Glueck (July 29, 1991), Motherwell Estate Is Estimated to Be $25 Million New York Times.
- Grace Glueck (July 29, 1991). "Motherwell Estate is Estimated to Be $25 Million". The New York Times.
- Robert Motherwell, The Dada Painters and Poets, R. Motherwell, New York, 1951.
- Robert Motherwell, The Collected Writings of Robert Motherwell, University of California Press, 1999.
- Robert Motherwell translated to English Paul Signac's book, D'Eugène Delacroix au néo-impressionisme, 1938.
- Arnason, H.H. Robert Motherwell. New York: Harry N. Abrams, 1977; revised edition 1982.
- Motherwell, Robert, Engberg, Siri and Joan Banach. Robert Motherwell: The Complete Prints 1940–1991. Minneapolis: Walker Art Center, 2003.
- Flam, Jack. Motherwell. London: Phaidon, 1991
- Marika Herskovic, American Abstract Expressionism of the 1950s An Illustrated Survey, (New York School Press, 2003.) ISBN 0-9677994-1-4. p. 238-241
- Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) ISBN 0-9677994-0-6. p. 11; p. 16; p. 27; p. 38; p. 258-261
- Robert Hobbs. "Robert Motherwell Retrospective." Düsseldorf: Städische Kunsthalle Düsseldorf, 1976.
- Robert Hobbs, Matthew Collings, Mel Gooding and Robert Motherwell. "Open." London: 21 Publishing Ltd., 2009.
- Kingsley, April. The Turning Point: The Abstract Expressionists and the Transformation of American Art. New York: Simon & Schuster, 1992.
- Pleynet, Marcelin. Robert Motherwell. Paris: Daniel Papierski, 1989.
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