Edward Zutrau American, 1922-1993
Kamakura, 1963
Oil on linen
51 x 38 1/2 inches
Signed, tiled and dated "4/19/1963" on the reverse
The former senior curator of the Zimmerli Museum Art Museum of Rutger Jeffrey Wechsler said while discussing this work. 'The majority of works in the current exhibition demonstrate how Zutrau’s...
The former senior curator of the Zimmerli Museum Art Museum of Rutger Jeffrey Wechsler said while discussing this work.
"The majority of works in the current
exhibition demonstrate how Zutrau’s work of
the 1960s chronologically straddled and often
visually intermingled the methodologies
noted above. For example, in Kamakura
4/19/63 (fig. 3), the painting consists of just
two large rectangular color areas, green and
blue. However, the intensity of the hues are
rather different, with the green being quite
bright, approaching an acid tone, and the
blue more subdued. Although this simple
image may parallel to some degree certain
compositions of Ellsworth Kelly, there are
two essential differences. Zutrau’s paint
surface is not flat, but is varied with visible
brushstrokes.
Very importantly, the two
main color shapes do not have straight edges
nor do they consistently reach to the border
of the paintings. Instead, the areas allow
empty space to meander around them, with
irregular yet carefully controlled wavering
perimeters." (LG Zutrau catalogue)
"The majority of works in the current
exhibition demonstrate how Zutrau’s work of
the 1960s chronologically straddled and often
visually intermingled the methodologies
noted above. For example, in Kamakura
4/19/63 (fig. 3), the painting consists of just
two large rectangular color areas, green and
blue. However, the intensity of the hues are
rather different, with the green being quite
bright, approaching an acid tone, and the
blue more subdued. Although this simple
image may parallel to some degree certain
compositions of Ellsworth Kelly, there are
two essential differences. Zutrau’s paint
surface is not flat, but is varied with visible
brushstrokes.
Very importantly, the two
main color shapes do not have straight edges
nor do they consistently reach to the border
of the paintings. Instead, the areas allow
empty space to meander around them, with
irregular yet carefully controlled wavering
perimeters." (LG Zutrau catalogue)