Robert Ryman (b. 1930)
PROPERTY FROM A PRIVATE SWISS COLLECTION
Robert Ryman (b. 1930)

Advance

Details
Robert Ryman (b. 1930)
Advance
signed, titled and dated 'RYMAN76 "ADVANCE"' (on the reverse)
oil paint, Elvacite on acrylivin blue, plastic fasteners with vinylbands, four cadmium plated steel bolts
35½ x 34 in. (90.2 x 86.4 cm.)
Painted in 1976.
Provenance
Galleria Gian Enzo Sperone, Rome
Acquired from the above by the present owner, 1976-1977.
Literature
P. Blum, "Robert Ryman", Du (Zurich), August 1980, p. 69 (illustrated)
Y-A. Bois and C. Sauer, Robert Ryman. Paris: Musée National d'Art Moderne, Centre Georges Pompidou, 1981, p. 80, no. 54 (illustrated) H. Pietsch, "Das Fest der weissen Bilder", Art (Hamburg), February 1993, p. 84
S. Kent, "Now and Zen", Time Out (London), March 3-10, 1993, p. 36 R. Cork, "Made of the White Stuff", Times (London), March 5, 1993, p. 37
K. Larson, "A Paler Shade of White", New York Magazine, October 11, 1993, p. 81
Exhibited
New York, P.S. 1, Institute for Art and Urban Resources, Works and Projects of the Seventies, January-February 1977, no. 12
Rome, Galleria Gian Enzo Sperone, May 1977, no. 12
Zurich, InK. Halle für internationale neue Kunst; Paris, Musée national d'art moderne, Centre Georges Pompidou; and, Dusseldorf, Städtische Kunsthalle, ROBERT RYMAN, June 1980-January 1982, pp. 196-197, no. 50 (illustrated)
London, Tate Gallery; Madrid, Museo Nacional Centro de Arte Reina Sofia; New York, The Museum of Modern Art; San Francisco, Museum of Modern Art; and Minneapolis, Walker Art Center, Robert Ryman, February 1993-October 1994, p. 161, no. 57 (Madrid no. 53) (illustrated)

Lot Essay

"I haven't seen Advance in so many years....the strap-like elements that hold the painting to the wall were a blue color, and made of Acrylivin, a very tough kind of plastic material, almost indestructible. It was much tougher than Plexiglas. And, compositionally you had the blue edge of the Acrylivin, and...the blue edge of the vinyl going across the surface, which reflected light. And then of course the actual painted surface absorbed the light, and you had the steel bolts, two at the top, two at the bottom. So it was very active visually, this painting.
...the Elvacite I got from Orrin Riley,...It was a building material, used for things like subway cars. It was a very tough plastic, almost like a flooring material. It was used for baseboards and things like that in subway cars. It's flexible, but not like Plexiglas; it isn't breakable like Plexiglas. And it came in colors- that's what interested me. And also, it had a surface that would hold paint. So it was the color of it and the toughness of it that I liked. And of course the thinness, too. It was only one-eighth of an inch thick" (Robert Ryman in R. Storr, Robert Ryman, London 1993, p. 160).

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