Lions on the Dreyfus Fund IV

細節

Larry Rivers (1923-2002)
Lions on the Dreyfus Fund IV
signed, titled, inscribed and dated '"Lions on the Dreyfus Fund" Rivers London Feb '64' (on the reverse)
oil, graphite, board and paper collage on masonite
57 x 57 in. (144.7 x 144.7 cm.)
Executed in 1964.

來源

Marlborough-Gerson Gallery Inc., New York
Acquired from the above by the present owner, 1965

出版

S. Hunter, Larry Rivers, Barcelona, 1989, pp. 231 and 353, no. 203 (illustrated).

展覽

Waltham, Brandeis University, The Rose Art Museum; The Pasadena Art Museum; New York, The Jewish Museum; The Detroit Institute of Arts; The Minneapolis Institute of Arts, Larry Rivers, April 1965-February 1966, p. 51 and 88, no. 74 (illustrated).

榮譽呈獻

Amanda Lassell

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拍品專文

In Lions on Dreyfus Fund IV, Larry Rivers explores the impulse to open his art to the standardized public messages of mass media and advertising; creating a visual message stripped down and built back up into raw patterns of visual persuasion. Stripped of a corporate identity, the Dreyfus Lion, aggressively multiplied, layered and worked, produce a particularly rich and clamorous collage. Art historian Sam Hunter cogently observed in 1965, "Rivers stands halfway between the subjective gestural language of de Kooning, and the objectivism and search for new meanings in the urban environment of Rauschenberg and Johns. The innovations of Rauschenberg and to a lesser degree Johns and the pop artists are incomprehensible without Rivers" (S. Hunter quoted in Larry Rivers, Waltham, 1965, pp. 18 and 20).