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RICHARD ARTSCHWAGER
(b. 1923)
Farm III
dated 1970 on the reverse
acrylic on celotex in artist's frame
32 by 28 3/4 in. 81.3 by 73 cm.
In the mid-1960s, a fascination with perspective as the convention for creating
illusory space entered Artschwager's paintings on celotex. Concrete sidewalks,
linear desktops, and receding ceiling tiles become traditional orthogonals to imply depth in the artist's early interiors and building exteriors. In 1970, Artschwager introduced more pastoral themes in works such as Bushes and Farm III, perhaps in response to acquiring an old farmhouse in upstate New York. The alignment of rooftops, eaves, architectural features, porch railings and the curving field rows
create more complex devices for spatial illusion.
Yet, the texture of the celotex surface inherently produces an imprecise line and "nothing is ever quite still enough to gain perfect definition. Instead, we are faced with highly active, slightly out-of-focus edges reminiscent of those in the work of the Post-Impressionists [Artschwager] admires. In his art, too, the visual fluidity of the world is paramount. His scientific bent obliges him always to impose order on, to seek concrete meaning for, ever-changing reality. Celotex offered the delusion of a constantly changing field, while one line deftly rendered on it could create illustionist depth" (Richard Armstrong, Artschwager, Richard, New York, 1988, p. 30).
PROVENANCE
Thilo Liemersdorf, Essen
Private Collection, Germany
Sotheby's, New York, November 2, 1994, Lot 220
Acquired by the present owner from the above