These strong, persistent horizontal lines are the final addition to the work, and are drawn so as not to reach the edge of the canvas, creating the impression that they are floating across the colour field. By drawing on top of the acrylic paints, Martin reverses the traditional notion of drawing as preparatory work to be painted over. The painting was completed by further reinforcement of the pencil lines demarcating the striped surface of the canvas. This irregularity reinforces the white gesso’s role as a blank background onto which colours and pencil marks have been inscribed. Within the composition’s repeating horizontals, the three bands left empty of colour are also the widest, at approximately one and a half times the width of the peach and blue bands. These same colours appear in the later paintings Faraway Love 1999 (Tate AR00178) and Happy Holiday 1999 (Tate AR00179), but in Untitled #5 they are applied with lighter, looser brush strokes and the Liquitex was diluted to produce almost gestural veils of colour. On top of this base coat of paint the artist measured out and marked with pencil rectangular bands across the width of the canvas, into which she painted alternating duck-egg blue and pale peach ‘salmon-brick’ colours using a different type of acrylic, Liquitex, which gives a translucent and tempera-like finish. This gives the painting a visual sparseness and vibrant luminosity the thick white gesso sealing and emphasising the slightly toothy texture of the linen canvas support. As with all works from this period by Martin, Untitled #5 was begun by priming the entire surface of the canvas with an opaque coating of white acrylic gesso, which is never fully covered by subsequent layers of colour. The colours alternate in a regular pattern and the divisions are demarcated by wavering graphite pencil lines. The square pictorial field is divided into eleven horizontal bands of white, blue and peach acrylic paint.
Untitled #5 is a large abstract painting on canvas by the Canadian–American artist Agnes Martin, signed and inscribed by the artist on its verso. The collection is displayed across the UK in solo exhibitions that showcase the work of 42 major international artists. It is our positive response to life’.ĪRTIST ROOMS is a touring collection of over 1,600 works of modern and contemporary art. She explained, ‘Beauty is the mystery of life. She considered art to be a transcendent experience. Her paintings explore the inner emotional world and the human desire for peace and serenity. Martin’s work was influenced by Zen Buddhism and Chinese Tao philosophy.
the paintings are very far from being perfect – completely removed in fact – even as we ourselves are.' As Martin said, ‘the work is about perfection as we are aware of it in our minds but. These marks give the artworks a hand-made feel, undermining the rigid geometry of the composition. The bands initially appear uniform, but on closer inspection, faint brushstrokes and pools of paint emerge. The paintings in this room consist of horizontal bands of colour, divided by delicate pencil lines. Agnes Martin Works on paper, Garry Anderson Gallery, Sydney, 1986 Agnes Martin was one of the most significant abstract artists in twentieth century America. In her meticulous, hand-painted artworks, ordered geometry and imperfection co-existed. However, Martin’s methods were different. In the 1950s and 1960s her work was often associated with abstract expressionism and minimalism.
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AGNES MARTIN ON A CLEAR DAY 1973 HOW TO
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