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In the 1940s, Adolph Gottlieb stopped making preparatory drawings and sketches. He instead turned to printmaking as an initial way to explore ideas for paintings, finding interest with the unique elements of each graphic medium to explore ‘feeling’ in his early Abstract Expressionist language. Pictograph, a strikingly graphic image with a flat and linear composition, has no clear beginning or end. The directness of the work embodies the spontaneity of this print as well as its open-endedness; it is reflective of ‘time’ through a Surrealist lens. Gottlieb began making works that would belong to his Pictograph series in 1941 and sought to create a kind of universal language through them. He saw his imagery and ‘symbols’ as easily relatable “because of [their] roots in a common humanity,” wrote Linda Konheim Kramer, in her essay “The Graphic Sources of Gottlieb’s Pictographs.” Inspired by African, Oceanic, and Native American cultures, Gottlieb sought to connect his imagery with our subconscious minds. The “characters” and “geometric shapes all participate in the history of man's imagery.”
". . . My favorite symbols were those which I didn’t understand. If I knew too well what the symbol signified, then I would eliminate it because then it got to be boring. I wanted these symbols to have. . . a certain kind of ambiguity and mystery." —Adolph Gottlieb
The compartmentalized imagery found in Gottlieb's Pictograph is nonspecific. Looking to artists like “Paul Klee, Picasso, and Miró,” Gottlieb observed how the European Modernists “had reinterpreted ancient art forms in their own work,” wrote Kramer. “The images themselves, although reminiscent of hieroglyphs, are not hieroglyphs but rather signs and symbols drawn from both ancient and modern art as well as Gottlieb's own psyche.” Gottlieb’s imagery and symbols are notably open-ended. He did not mean for the imagery to have meaning or order and instead placed them with free association.
In creating this composition Gottlieb utilized the rectilinear grid which allowed for rectangles of varied proportion, famously championed by Piet Mondrian. A structural tool that heavily influenced Modernist artists and architects alike, the grid struck Gottlieb as a way to present ancient imagery through a new form. “An image maker at heart,” wrote Charlotta Kotik in her essay “The Legacy of Signs: Reflections on Adolph Gottlieb’s Pictographs,” “Gottlieb used the grid filled with the fragments of various objects in a manner that allowed him to incorporate these figurative elements within a modernist format.” For Gottlieb, the grid, a mechanism of Modernism, became a classical form, built to contain his signs and symbols.
Adolph Gottlieb, Vigil, 1948, The Whitney Museum of American Art, New York. Artwork: © Adolph & Esther Gottlieb Foundation, Inc. / Licensed by VAGA at Artists Rights Society (ARS), New York Other impressions of this linocut are in the Smithsonian American Art Museum, Washington D.C., and the Davis Museum and Cultural Center at Wellesley College, Massachusetts collections.
來源
由藝術家送贈
紐約Cecil Hemley收藏（藝術家表親）
現藏者繼承自上述來源過往展覽
Adolph Gottlieb: Early Prints, traveling exhibition (another example exhibited)
Allen Memorial Art Museum, Oberlin College, November 7, 2006 – January 7, 2007
Milwaukee Art Museum, May 24, 2007 – August 9, 2007
Art Museum of the University of Memphis, September 8, 2007 – October 20, 2007
Pollock-Krasner House and Study Center, May 1, 2008 – July 27, 2008文學
Richard S. Field 39
see Associated American Artists p. 20 (presumably no. 31)
12
《象形文字 (F. 39)》
約1946年作
膠版畫 編織紙本（疑似全包邊）
圖像：11 3/4 x 14 3/4 英吋 (29.8 x 37.5 公分)
紙本：13 1/4 x 16 3/8 英吋 (33.7 x 41.6 公分)
款識：簽名
尚有約25版，由藝術家出版，此作已裱。
估價
$12,000 - 18,000
成交價$15,120
212 940 1220
限量版畫及紙本作品
紐約拍賣 2022年10月24至26日
56
安迪．沃荷
《英國女王伊麗莎白二世–來自「在位女王」（皇家版）(F. & S. 336A)》
估價 $200,000 - 300,000
成交價 $352,800
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179
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