GENERAL DESCRIPTION
Robert Mangold paints compositions of elegant elements that are connected in complex manners. He is interested in painting as a vehicle for ideas that are carefully worked out prior to being put down on canvas and frequently works in series, concentrating on permutations of a particular composition. Mangold rarely creates a center in his paintings; and although the geometric forms in his work, created by thin lines which divide the canvas, appear to be precise and mathematically calculated, they are not. Instead, he devises the forms to construct a balance that invites contemplation. In 1968, Mangold switched to spraying oil paint onto sheets of Masonite, which he had adopted to remove his touch, to rolling acrylic on canvas, reinforcing the flatness associated with the minimalist tradition. In the late 1960s, he also came to be associated with conceptual art.
Adapted from
- DMA label copy, 2014.
- DMA unpublished material.
NOTES
Exhibitions: The Museum is History, 2014; Variations on a Theme, 2013; Re-Seeing the Contemporary, 2011
DMA unpublished material = Untitled document in the Collections Records object file (1975.60.FA).
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RELATED OBJECTS
PROVENANCE
Until 1975: Robert Mangold (b. 1937)
1975: Dallas Museum of Fine Arts, purchased through Cusack Gallery, Houston, Texas [1]
Notes:
The main source for this provenance is the invoice dated September 30, 1975, in the Collections Records object file (1975.60.FA).
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1984.
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General Description
Robert Mangold paints compositions of elegant elements that are connected in complex manners. He is interested in painting as a vehicle for ideas that are carefully worked out prior to being put down on canvas and frequently works in series, concentrating on permutations of a particular composition. Mangold rarely creates a center in his paintings; and although the geometric forms in his work, created by thin lines which divide the canvas, appear to be precise and mathematically calculated, they are not. Instead, he devises the forms to construct a balance that invites contemplation. In 1968, Mangold switched to spraying oil paint onto sheets of Masonite, which he had adopted to remove his touch, to rolling acrylic on canvas, reinforcing the flatness associated with the minimalist tradition. In the late 1960s, he also came to be associated with conceptual art.
Adapted from
- DMA label copy, 2014.
- DMA unpublished material.
Fun Facts
Archival Resources
Web Resources
Notes
Exhibitions: The Museum is History, 2014; Variations on a Theme, 2013; Re-Seeing the Contemporary, 2011
DMA unpublished material = Untitled document in the Collections Records object file (1975.60.FA).
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1975: Robert Mangold (b. 1937)
1975: Dallas Museum of Fine Arts, purchased through Cusack Gallery, Houston, Texas [1]
Notes:
The main source for this provenance is the invoice dated September 30, 1975, in the Collections Records object file (1975.60.FA).
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1984.
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