Exhibited: Bertha Schaefer Gallery, Fernando Zobel: Recent Paintings, New York, March 26 - April 13, 1968

Literature: De la Torre, Alfonso and Rafael Pérez-Madero. Fernando Zóbel: Catalogue Raisonné of Paintings (1946 - 1984). Madrid: Fundación Azcona, 2022. Listed as "nº 67-22-B" with full-color photograph on page 345 and painting description on page 344.

ABOUT THE WORK

The monochromatic works of Fernando Zobel that dominated the early to mid 60s are often seen as the most recognizable aspects of his artistic career. But one can argue that his gradual shift and introduction of color was just as pivotal. Fast forward to the emergence of the 1968 period, Zobel's artistic endeavors ventured beyond the superficial exploration of visual elements. During this era, his focus extended beyond the mere appearance of objects, delving into the intricate interplay between art and culture. This marked a pivotal juncture in his career, where he grappled with the societal nuances that underlie artistic expression. His artistic transition mirrored the prevailing artistic trends of the late 60s, characterized by geometric and hard-edged forms that echoed the intensity of the era's artistic zeitgeist. Zobel's exploration of memory and nostalgia became a defining thread in his artistic tapestry. He recognized the power of selective memory, where certain visual phenomena stand out as the primary anchors of remembrance. By integrating this notion into his artistic philosophy, he reimagined his subjects through a filter of recollection, inviting viewers to engage with his works on a deeply personal and evocative level. The pivotal transition in Zobel's practice, marked by his foray into exploring memory, was more than a shift in technique—it was a transformative moment for abstract art itself. The conventional disinterestedness that often characterizes abstraction yielded to a fresh and introspective exploration of sentiment and personal history. Zobel's deliberate departure from established norms opened up a new realm of possibilities, where the canvas became a vehicle for introspection and reverie. Notably, Zobel's journey also led him to revisit the realm of color experimentation. Departing from the monochromatic palette of his earlier Serie Negra, he reintroduced a vivid spectrum of siennas, dark browns, ochres, and grays. This chromatic shift breathed new life into his work, infusing it with a sense of dynamism and vibrancy that complemented his evolving artistic philosophy. (Jed Daya)