Marble
University of Notre Dame
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Untitled

Date

1959

Creator

Ray Parker

Location

Raclin Murphy Museum of Art

In the arena of American abstract art after World War II, Ray Parker developed a style that was exceptionally personal and innovative. Parker's single-minded attention to a refined and distinctive use fo color can be traced back to Henri Matisse and American painters such as Patrick Henry Bruce and Stuart Davis. Although his paintings may at times resemble the more famous works of Mark Rothko, Ellsworth Kelly, or Morris Louis, Parker's goals and particular use of colors, brushwork, and forms set his work apart from both Abstract Expressionism and Color Field painting. [...] From 1958 to 1065 he created a group of paintings that are among the most beautiful and accomplished of the period. He called the works "simple paintings," but although they may at first appear simple, they are actually complex, sophisticated, and rather daring in their unique devotion to exploring a set of purely formal problems. In a varied range of dark and bright hues on a neutral background, the simply ordered, cloudlike forms seem alternately to float, hang, rest heavily, bump, or touch one another. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)

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In the arena of American abstract art after World War II, Ray Parker developed a style that was exceptionally personal and innovative. Parker's single-minded attention to a refined and distinctive use fo color can be traced back to Henri Matisse and American painters such as Patrick Henry Bruce and Stuart Davis. Although his paintings may at times resemble the more famous works of Mark Rothko, Ellsworth Kelly, or Morris Louis, Parker's goals and particular use of colors, brushwork, and forms set his work apart from both Abstract Expressionism and Color Field painting. [...] From 1958 to 1065 he created a group of paintings that are among the most beautiful and accomplished of the period. He called the works "simple paintings," but although they may at first appear simple, they are actually complex, sophisticated, and rather daring in their unique devotion to exploring a set of purely formal problems. In a varied range of dark and bright hues on a neutral background, the simply ordered, cloudlike forms seem alternately to float, hang, rest heavily, bump, or touch one another. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)
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  • In the arena of American abstract art after World War II, Ray Parker developed a style that was exceptionally personal and innovative. Parker's single-minded attention to a refined and distinctive use fo color can be traced back to Henri Matisse and American painters such as Patrick Henry Bruce and Stuart Davis. Although his paintings may at times resemble the more famous works of Mark Rothko, Ellsworth Kelly, or Morris Louis, Parker's goals and particular use of colors, brushwork, and forms set his work apart from both Abstract Expressionism and Color Field painting. [...] From 1958 to 1065 he created a group of paintings that are among the most beautiful and accomplished of the period. He called the works "simple paintings," but although they may at first appear simple, they are actually complex, sophisticated, and rather daring in their unique devotion to exploring a set of purely formal problems. In a varied range of dark and bright hues on a neutral background, the simply ordered, cloudlike forms seem alternately to float, hang, rest heavily, bump, or touch one another. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)
  • In the arena of American abstract art after World War II, Ray Parker developed a style that was exceptionally personal and innovative. Parker's single-minded attention to a refined and distinctive use fo color can be traced back to Henri Matisse and American painters such as Patrick Henry Bruce and Stuart Davis. Although his paintings may at times resemble the more famous works of Mark Rothko, Ellsworth Kelly, or Morris Louis, Parker's goals and particular use of colors, brushwork, and forms set his work apart from both Abstract Expressionism and Color Field painting. [...] From 1958 to 1065 he created a group of paintings that are among the most beautiful and accomplished of the period. He called the works "simple paintings," but although they may at first appear simple, they are actually complex, sophisticated, and rather daring in their unique devotion to exploring a set of purely formal problems. In a varied range of dark and bright hues on a neutral background, the simply ordered, cloudlike forms seem alternately to float, hang, rest heavily, bump, or touch one another. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)
  • In the arena of American abstract art after World War II, Ray Parker developed a style that was exceptionally personal and innovative. Parker's single-minded attention to a refined and distinctive use fo color can be traced back to Henri Matisse and American painters such as Patrick Henry Bruce and Stuart Davis. Although his paintings may at times resemble the more famous works of Mark Rothko, Ellsworth Kelly, or Morris Louis, Parker's goals and particular use of colors, brushwork, and forms set his work apart from both Abstract Expressionism and Color Field painting. [...] From 1958 to 1065 he created a group of paintings that are among the most beautiful and accomplished of the period. He called the works "simple paintings," but although they may at first appear simple, they are actually complex, sophisticated, and rather daring in their unique devotion to exploring a set of purely formal problems. In a varied range of dark and bright hues on a neutral background, the simply ordered, cloudlike forms seem alternately to float, hang, rest heavily, bump, or touch one another. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)
Ray Parker (American, 1922 - 1990)
1959
Paintings
Oil on canvas
1997.031
Abstract
Abstract Expressionist
American
Color-field
© Ray Parker Estate
Not on view, please request access
71 1/2 x 82 1/2 in. (181.61 x 209.55 cm)
Humana Foundation Endowment

Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.