Robert Mangold

[title not known]


Aquatint and etching on paper
Image: 403 x 400 mm
Purchased 1974

Catalogue entry

This catalogue entry discusses a group of works.

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:

P07083 Blue
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)
P07084 Green
15 7/8 x 15 3/4 (40.4 x 40) on paper 27 x 22 1/4 (68.5 x 56.4)
P07085 Orange-ochre
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)
P07086 Grey
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)
P07087 Red
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)
P07088 Yellow-ochre
15 7/8 x 15 5/8 (40.4 x 39.8) on paper 27 x 22 1/8 (68.5 x 56.2)
P07089 Blue-green
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.

Published in:
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