End of Day--Nightscape IV
Artist
Louise Nevelson
(American, born Ukraine, 1899 - 1988)
Date1973
MediumPainted wood
DimensionsOverall: 101 1/4 × 183 3/4 × 7 inches (257.18 × 466.73 × 17.78 cm)
Credit LineGift of the Friends of Art
Object numberF74-30
On View
On viewGallery Location
- L4
Collections
DescriptionRectangular wood construction consisting of a grid of smaller rectangular boxes, stacked three high by ten wide. box is subdivided by compartments con- taining odd scraps of wood, geometric shapes, or man-made objects; e.g. door knobs and paintbrush handles. surface painted a uniform, matte finish black.Exhibition HistoryLouise Nevelson: Wood Sculptures, Walker Art Center, Minneapolis, MI, November
10-December 30, 1973; San Francisco Museum of Art, January 25-March 10, 1974;
Dallas Museum of Art, April 17-May 19, 1974; The High Museum of Art, Atlanta,
July 6-August 18, 1974; The Nelson-Atkins Museum of Art, Kansas City, September
21-November 3, 1974; The Cleveland Museum of Art, January 28-March 9, 1975, no.
79.
Louise Nevelson created monumental sculptures from found, wooden objects such as furniture, crates and discarded architectural ornamentation. A self-proclaimed "architect of shadows," Nevelson gave her architectonic arrangements a mysterious and theatrical quality by painting them a uniform matte black, explaining that, to her eye, black was "visually weightless."
Nevelson did not achieve critical acclaim until the 1950s, when she was included in an exhibition at the Museum of Modern Art, New York. Prior to that time, she experienced prejudice characterized by a comment made by a critic in 1941: "We learned that the artist is a woman in time to check our enthusiasm. Had it been otherwise, we might have hailed these sculptural expressions as by surely a great figure among moderns."
Nevelson did not achieve critical acclaim until the 1950s, when she was included in an exhibition at the Museum of Modern Art, New York. Prior to that time, she experienced prejudice characterized by a comment made by a critic in 1941: "We learned that the artist is a woman in time to check our enthusiasm. Had it been otherwise, we might have hailed these sculptural expressions as by surely a great figure among moderns."
With The Pace Gallery, New York, by 1974;
Purchased from The Pace Gallery, New York, by the Friends of Art, Kansas City,
MO, by 1974.
Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1974.
Martin
Friedman, Nevelson: Wood Sculptures,
exh. cat. (New York: E.P. Dutton and Co., Inc., 1973), 70.
Deborah Emont Scott, The Nelson-Atkins Museum of Art: A Handbook of the Collection (Kansas City, The Nelson-Atkins Museum of Art, 2008), 223, (repro.).
Deborah Emont Scott, The Nelson-Atkins Museum of Art: A Handbook of the Collection (Kansas City, The Nelson-Atkins Museum of Art, 2008), 223, (repro.).
Copyright© Estate of Louise Nevelson / Artists Rights Society (ARS), New York
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