Untitled

Lithography was used to transfer ink from a stone surface to paper, allowing for fluid, gestural marks. The black splatters were likely achieved by direct manipulation of the stone, while the thick lower line may have been drawn with a greasy crayon. Screenprinting and offset methods added layered textures, and physical materials were adhered to the surface, creating a tactile hybrid that blurs the line between print and object.

The print was produced as part of a limited portfolio commissioned in 1966, a period when Motherwell was deeply involved in print experimentation. It entered The Museum of Modern Art’s collection shortly after its creation, reflecting institutional recognition of his contributions to postwar printmaking. The portfolio’s mixed-media nature aligns with broader 1960s interests in expanding the boundaries of traditional print genres.

In the mid-1960s, New York artists were redefining printmaking beyond reproduction, treating it as a site for innovation. Motherwell’s portfolio responded to this shift, integrating collage and multiple printing methods to challenge the neutrality of the print medium. His work stood apart from Pop Art’s clarity, favoring ambiguity and material complexity rooted in Abstract Expressionist ideals.

This lithograph exemplifies Motherwell’s enduring influence on the evolution of printmaking as a medium for abstract expression. Its integration of diverse techniques encouraged later artists to treat prints as hybrid objects rather than mere multiples. The work remains a touchstone in discussions of how gesture, material, and process intersect in postwar American art.