This painting is recorded in the Dawson record under the heading “1913”: “Compages of Classic Figures.”
Signature: Signed and dated lower center: "M. Dawson '13"
Manierre Dawson: New Revelations, Hollis Taggart Galleries, Chicago, May 1–June 15, 2003.
"Manierre Dawson: New Revelations" (exh. cat.). Essays by Randy J. Ploog and Henry Adams; exh. curated by Vivian Bullaudy, Myra Bairstow, and Dennis Rosenthal. New York: Hollis Taggart Galleries, 2003, plate 16.
Randy J. Ploog, Myra Bairstow, and Ani Boyajian, "Manierre Dawson (1887-1969): A Catalogue Raisonne" (Jacksonville, FL: The Three Graces, 2011), p. 197, cat. no. 1913.05.
Estate of the artist
Dr. Lewis Obi, Frank McKeown, and Lefferts Mabie, 1978
To present owner, 1991
About Manierre Dawson
Manierre Dawson’s abstract paintings and sculptures incorporate simplified mathematical and geometric shapes, such as hyperbolas, parabolas, and circles, into muted, non-representational compositions. Non-objective and lacking any central subject matter, his works often suggest fragmented landscapes or the movement of the human body, paralleling the work of contemporaries Marcel Duchamp and Umberto Boccioni. Dawson is considered one of the pioneers of American abstraction. Later in his career he would become an early experimenter with mixed-media sculpture, working in laminated particleboard, wood composites, and found materials.
American, 1887-1969, Chicago, Illinois