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While a contemporary of the Abstract Expressionists, Tobey developed a unique and often calligraphic style, grounded in a place of mindfulness rather than the physical action of his contemporaries. A spiritual and artistic turning point for Tobey occurred in 1918 when he was introduced to the ecumenical Baha'i Faith, which promotes universal consciousness. Working largely in water-based media, such as tempera and gouache, on modestly-scaled canvases and paper, Tobey began a painting by emptying his mind of extraneous thoughts in order to focus exclusively on the meticulous placement of abstract gestures and shapes. Within his tablet-size paintings, suffused with masses of lines and overlaid with fragmentary forms, Tobey captured universes of possibilities and energy. In discussing his practice, Tobey said: I believe that painting should come through the avenues of meditation rather than the canals of action. Only then can one have a conversation with a painting. If I find no content, there's no communication.
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Mark Tobey: paintings from the collection of Joyce and Arthur Dahl
1967, Department of Art, Stanford University
in English
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Book Details
Edition Notes
Published on the occasion of the exhibition held at Pace Gallery, New York, New York, 25 October 2018-12 January 2019.
Introductory essay by Robert C. Morgan.
Includes bibliographical references.
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Feedback?July 15, 2024 | Edited by MARC Bot | import existing book |
December 20, 2023 | Edited by ImportBot | import existing book |
July 31, 2019 | Edited by MARC Bot | associate edition with work OL11126347W |
December 3, 2010 | Edited by Open Library Bot | Added subjects from MARC records. |
December 11, 2009 | Created by WorkBot | add works page |