Robert Mangold born 1937
P07083-9 Seven Aquatints 1973
Each inscribed '11/50' b.l. and 'R. Mangold 1973' b.r.
Aquatints with soft-ground etching, each approx. 15 7/8 x 15 3/4 (40.4 x 39.9) on paper approx. 27 x 24 (68.5 x 56.4)
Purchased from the Lisson Gallery (Grant-in-Aid) 1974
Prov: Published by Parasol Press, New York; through John Weber Gallery, New York; with Lisson Gallery, London
Exh: Series, Tate Gallery, December 1977-January 1978 (13)
Lit: Print Collector's Newsletter, V, No.2, 1974, p.41
The colours of the individual prints (in their correct order) and their exact sizes are as follows:
15 7/8 x 15 3/4 (40.4 x 39.9) on paper 27 1/8 x 22 1/4 (68.8 x 56.4)
15 7/8 x 15 3/4 (40.4 x 40) on paper 27 x 22 1/4 (68.5 x 56.4)
15 7/8 x 15 3/4 (40.4 x 39.9) on paper 26 7/8 x 22 1/4 (68.3 x 56.5)
15 7/8 x 15 3/4 (40.4 x 39.9) on paper 27 1/8 x 22 1/8 (68.8 x 56.3)
15 7/8 x 15 5/8 (40.4 x 39.8) on paper 27 1/8 x 22 1/4 (68.8 x 56.4)
15 7/8 x 15 5/8 (40.4 x 39.8) on paper 27 x 22 1/8 (68.5 x 56.2)
15 7/8 x 15 5/8 (40.3 x 39.8) on paper 27 x 22 1/8 (68.6 x 56.2)
Mangold made a series of eight circle drawings in 1973 in graphite pencil and coloured pencil on rectangular sheets of paper, each with a circle drawn in colour enclosing a quadrilateral drawn in black which is nearly but not quite a square. The set of eight is reproduced in the exhibition catalogue Robert Mangold, La Jolla Museum of Contemporary Art, March-May 1974, n.p. A close correspondence is evident between the relationship of the near-square to the circle in seven of these drawings and in the set of seven aquatints.
The artist has explained (letter of 4 April 1978): 'The set of drawings was started on before the prints and I chose to explore as many variations of the theme of the distorted square within a circle as was possible without being repetitive etc. At this same time I chose to execute several of these ideas into circular canvases.
'When I again decided to rework the series idea, as in the drawings, I chose to omit one idea the # 3 in left to right sequence of the drawings as I decided it was too closely related to other drawings in the set. I also decided to add the additional element of the square of color ... So in effect you had in the prints a distorted square within a circle, within a square ...
'In the line drawings (8) the circle in each was drawn with a colored pencil, each a different color. When I did the prints I no longer recalled what the line colors were and simply made a new color sequence which may or may not correspond to the drawing color sequence, no attempt was made to duplicate it, and I have never checked to find if there were in fact any correspondences. The distorted squares in the drawings were done with a graphite pencil the same in each.'
The set of seven aquatints with soft-ground etching was published by the Parasol Press, New York, and issued in a portfolio in an edition of 50. Each print was printed on Rives B F K paper by Kathan Brown at the Crown Point Press in Oakland, California.
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.476-7, reproduced p.477