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  • Provenance

    Acquired directly from the artist by the present owner

  • Exhibited

    New York, Paula Cooper Gallery, Paintings, October 7 – November 4, 1978
    New York, Whitney Museum of American Art, 1979 Biennial Exhibition, February – April 1979, p. 61
    New York, Pace, Painting in the ‘70s, March 31 – April 30, 2011

  • Catalogue Essay

    Elizabeth Murray
    Born 1940 Chicago
    Died 2007 Washington County, New York

    1962 BFA The School of the Art Institute of Chicago
    1964 MFA Mills College, Oakland

    Selected museum exhibitions: Anderson Collection at Stanford University (2018); Musée d’art modern et contemporain, Geneva (2016); Arts Club of Chicago (2009); Institut Valencia d’Art Modern (2006); Museum of Modern Art (2005); Newark Museum, New Jersey (1992); San Francisco Museum of Modern Art (1988); Dallas Museum of Art (1987); The Institute of Contemporary Art, Boston (1984); Smith College, Massachusetts (1982); Galerie Mukai, Tokyo (1980)
    Selected honors: John D. and Catherine T. MacArthur Foundation Fellowship (1999); Skowhegan Medal in Painting (1986); American Academy of Arts and Letters, New York (1984)
    Selected public collections: Albright-Knox Art Gallery, Buffalo; Art Institute of Chicago; Baltimore Museum of Art; Birmingham Museum of Art; Brooklyn Museum; Carnegie Museum of Art, Pittsburgh; Detroit Institute of Arts; Solomon R. Guggenheim Museum; High Museum of Art, Atlanta; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Israel Museum, Jerusalem; Pérez Art Museum Miami; Metropolitan Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Tokyo; Whitney Museum of American Art

    Known for her inventive and spirited work, Elizabeth Murray established herself as one of the most important painters of her era. Parting and Together, dated 1978 and shown in the Whitney Biennial the following year, is an important early example of the shaped canvases that Murray would continue to develop throughout her career. Discussing the present painting, Robert Storr noted: “By the late 1970s, the compositional pressures had built up to the extent that the containers she chose for her imagery began to react spasmodically, snapping outward or buckling inward at the edges and so assuming the dimensions of a heaving trapezoid: Parting and Together.”

31

Parting and Together

oil on canvas
123 x 63 in. (312.4 x 160 cm.)
Painted in 1978.

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NOMEN: American Women Artists from 1945 to Today

New York Selling Exhibition 19 June - 3 August 2019