Sol LeWitt
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Sol LeWitt
American, 1928–2007
Conceptual Art transformed the art world in the 1960s by shifting the focus from the art object to the ideas and concepts that went into its creation. Sol LeWitt, one of its founders, coined the term "Conceptual Art" in his 1967 article, "Paragraphs on Conceptual Art." While LeWitt was a great proponent of the movement, his sculptural geometric reliefs and box forms, along with his prints and wall paintings, also fit within the tenets of Minimalist Art.
The sugar-lift aquatint, "Short Brushstrokes/Color" is the fifth in a series of fifteen made at Crown Point Press in February of that year. Like other of LeWitt's works made during this time period, there is a clear departure from the strict and rigid lines and guidelines that were present in his earlier work. "Short Brushstrokes/Color" exemplifies LeWitt's interest in pattern and abstraction. His randomly placed "brushstrokes" are a result of layering and reprinting the same plate four times, each time with a rotation of a quarter turn. The process results in a densely-layered print in which shapes and colors dance in front of our eyes as they emerge and recede from the swirling mass of pigment.
American, 1928–2007
Short Brushstrokes/Color
1997
Object Type:
Print
Dimensions:
29 3/4 in. x 29 3/4 in. (75.57 cm x 75.57 cm)
Medium and Support:
Color sugar lift aquatint on paper
Accession Number:
1997.0008
Credit Line:
Montgomery Museum of Fine Arts Association Purchase
Copyright:
© The LeWitt Estate / Artists Rights Society (ARS), New York
Conceptual Art transformed the art world in the 1960s by shifting the focus from the art object to the ideas and concepts that went into its creation. Sol LeWitt, one of its founders, coined the term "Conceptual Art" in his 1967 article, "Paragraphs on Conceptual Art." While LeWitt was a great proponent of the movement, his sculptural geometric reliefs and box forms, along with his prints and wall paintings, also fit within the tenets of Minimalist Art.
The sugar-lift aquatint, "Short Brushstrokes/Color" is the fifth in a series of fifteen made at Crown Point Press in February of that year. Like other of LeWitt's works made during this time period, there is a clear departure from the strict and rigid lines and guidelines that were present in his earlier work. "Short Brushstrokes/Color" exemplifies LeWitt's interest in pattern and abstraction. His randomly placed "brushstrokes" are a result of layering and reprinting the same plate four times, each time with a rotation of a quarter turn. The process results in a densely-layered print in which shapes and colors dance in front of our eyes as they emerge and recede from the swirling mass of pigment.
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