Robert Motherwell, ‘A View No.1’, 1958, Bernard Jacobson Gallery

The large diamond shape in this work, typical of the View series, was added after the underlying composition had been painted in; this is apparent in a photograph of the work in progress. The Juley studio photograph of the early state without the diamond shape reveals the similarity of the forms beneath that shape to those in Two Figures No. 11.

Speaking of the View paintings in a 1961 interview, Motherwell told Rudi Blesh, "about that title I meant it as a view, a point of view, one way of looking at painting."

In the annotated second edition of Arnason Motherwell says of this work; "If Abstract Expressionism is defined as it usually is, then this work is probably my most purely Abstract Expressionist work of the period."

As with many of Motherwell's series, the numbering of the View series is irregular, and some of the works in it were changed into altogether different works.

Signature: Recto, upper right, incised: RM 58

Sidney Janis Gallery, New York, Robert Motherwell, March 1959, no. 2.
Museum of Modern Art, New York, Robert Motherwell, 1965, no. 42 (illustrated, p. 29). This exhibition later travelled to Stedelijk Museum, Amsterdam, no. 37, (illustrated, n.p.); Whitechapel Art Gallery, London; Palais des Beaux Arts, Brussels; Museum Folkwang, Essen and Galleria Civica d'Arte Moderne, Turin.
Museum of Modern Art, New York, Robert Motherwell: Works on Paper, 1965 (circulating); shown in San Francisco only.
Museo de Arte Moderno, Mexico City, Robert Motherwell: Retrospectiva del gran Pictor Norteamericano, 1975, no. 13.
Städtische Kunsthalle Dusseldorf, Dusseldorf, Robert Motherwell, 1976, no. 18 (illustrated, p. 102). This exhibition later travelled to Galleriet Kulturhuset, Stockholm and Museum des 20. Jahrhunderts, Vienna.
Musée d'Art Moderne de la Ville de Paris, Paris, Robert Motherwell: Choix de Peintures et collages, 1977.
William Benton Museum of Art, University of Connecticut, Storrs, 1979, no. 11 (illustrated).
Albright-Knox Gallery, Buffalo, Robert Motherwell, 1983 , no. 30 (illustrated, p. 74). This exhibition later travelled to Los Angeles County Museum of Art, Los Angeles (work not shown); San Francisco Museum of Modern Art, San Francisco; Seattle Art Museum, Seattle and Corcoran Gallery of Art, Washington D. C.
Solomon R. Guggenheim Museum, New York, Robert Motherwell, 1984, no. 34.
Fundació Antoni Tàpies, Barcelona, Motherwell, 1996, no. 22 (illustrated, p. 115). This exhibition later travelled to Museo Nacional Centro de Arte Reina Sofia, Madrid.
Museum Fridericianum, Kassel, Documenta II, 1959, no. 2 (illustrated, p. 286).
IBM Gallery of Science and Art, New York, 50 Years of Collecting Art at IBM, 1989.
Bernard Jacobson Gallery, London, Robert Motherwell: A Centenary Survey of Major Works, 24 January - 25 April 2015.

Haftmann, W. "On the Content of Contemporary Art" in Quadrum: Revue Internationale d'art moderne 7, 1959 (illustrated, p. 15).
It is, no. 3 winter - spring 1959 (illustrated, p. 72).
Edgar, N. "The Satisfactions of Robert Motherwell" in Artnews, October 1965 (illustrated, p. 40, fig. 5).
Fabri, R. "First Motherwell Retrospective" in Today's Art, November 1965 (illustrated, p.9).
Hudson, A. "Viewpoint on Art: Hanging Dims Motherwells Show" in Washington Post, 10 October 1965, (illustrated, p.7).
Arnarson, H. H. "Robert Motherwell: The Years 1948 to 1965" in Art International, 20 April 1966 (illustrated, p. 35).
Robert Motherwell: Bilder und Collagen, 1967-1970, exh. cat., Galerie im Erker, St. Gallen, 1971 (illustrated, p. 13).
Acha, J. "Robert Motherwell" in Plural (Universidad Nacional Autonoma de Mexico), 6 May 1975 (illustrated, p. 82).
Pleynet, M. “Peinture et poésie ou a leçon de Robert Motherwell” (text in French). Art Press (Paris) no. 19, July – August 1975 (illustrated p. 9).
Arnason, H.H., 1977. Robert Motherwell. Notes to the plates by Robert Motherwell. Preface by Bryan Robertson. 1st ed. New York: Harry N. Abrams. Pp.49 – 50, illustrated p. 51 (pl. 25, in exhibition).
Moore, J. "Robert Motherwell: The Purist" (includes artist’s statement) in NewPaper 3, no. 108, 28 May – 4 June 1980 (illustrated, p. 3).
Arnason, H.H., 1982. Robert Motherwell (includes a reprinted 1977 interview with the artist at the New School for social Research). Introduction by Dore Ashton; notes to the plates by Robert Motherwell; interview by BarbaraleeDiamonstein. 2nd ed. New York: Harry N. Abrams. Pp. 49-50, illus. p. 50 (pl. 42 in exhibition), illus. p. 63 (pl. 55 in exhibition), illus. p. 153 (pl. 193).
Robert Motherwell, exh. cat., Albright-Knox Art Gallery, New York, 1983. P.13 (illustrated, p. 74).
Sozanski, E. J. "A Retrospective of Motherwell's Abstract Works" in Philadelphia Inquirer, 16 December 1984 (illustrated, p. 16).
Berman, A. "The Triumph of Abstract Expressionism" in Modern Maturity, no. 28, 1985 (illustrated, p. 65).
Pleynet, M., 1989. Robert Motherwell. Translated by Mary Ann Caws. Paris: Daniel Papierski (illustrated in colour p. 98).
Flam, J., 1991. Motherwell, Oxford: Phaidon Press (illustrated, n.p. pl. 43).
Qin, Z.K. "The influence of Oriental Art and Ideas on Robert Motherwell's Work: An Investigation of Certain Affinities between His Work and Chinese and Japanese Calligraphy and Ink Painting" in M.A. thesis, Virginia Commonwealth University, 1996, no. 4 (illustrated, p. 70).
Caws, M. A., 2003. Robert Motherwell: With Pen and Brush, London: Reaktion Books (illustrated, pp. 126 and 178).

Mr. & Mrs. John Murray Cuddihy, 1959.
Christie's New York, 3 November 1978, lot 17.
Andre Emmerich Gallery, New York, 1978
IBM Collection, Armonk, N.Y., 1980.
Sotheby's New York, 2 May 1995, lot 12.
La Colección Jumex, Mexico City, 1995.
Bernard Jacobson Gallery, London, 2011

About Robert Motherwell

Alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, Robert Motherwell is considered one of the great American Abstract Expressionist painters. His esteemed intellect not only undergirded his gorgeous, expressive paintings—frequently featuring bold black shapes against fields of color—but also made Motherwell one of the leading writers, theorists, and advocates of the New York School. He forged close friendships with the European Surrealists and other intellectuals over his interests in poetry and philosophy, and as such served as a vital link between the pre-war avant-garde in Europe and its post-war counterpart in New York, establishing automatism and psychoanalysis as central concerns of American abstraction. "It's not that the creative act and the critical act are simultaneous," Motherwell said. "It's more like you blurt something out and then analyze it.

American, 1915-1991, Aberdeen, Washington, based in New York and Greenwich, Connecticut