Object number1971.36

The Harvest

Date1965

Artist Agnes Martin (American b.Canada, 1912-2004)

MediumAcrylic and graphite on canvas

DimensionsUnframed: 72 1/16 x 72 1/16 in. (183 x 183 cm)
Framed: 72 13/16 x 73 1/4 x 1 9/16 in. (185 x 186 x 4 cm)

Credit LinePurchase, Mrs. John D. Rockefeller 3rd (Blanchette Hooker, class of 1931) Fund

On View

On view

Period20th c

Classification(s)

Painting

Terms

abstraction

SignedSigned (verso): A. Martin

InscribedInscribed (verso): The Harvest 1965

Vassar Exhibitions

XL: Large-Scale Paintings from the Permanent Collection

Exhibition HistoryAgnes Martin: "...unknown territory..." Paintings from the 1960's, Dia: Beacon, Riggio Galleries, Beacon, New York, April 14-November 7 2005;

...going forward into unknown territory...Agnes Martin's Early Paintings 1957-67, Dia: Beacon, New York, May 16, 2004 - April 18, 2005;

Definitive Statements, American Art: 1964-66, David Winton Bell Gallery, List Art Center, Brown University, Providence, Rhode Island, March 1-30, 1986. Traveled to Parrish Art Museum, Southampton, New York, May 3-June 21, 1986

Poughkeepsie, NY, FLLAC, Vassar College, "XL: Large-scale Paintings from the Permanent Collection," Jan 30 - March 29, 2015

Label TextAgnes Martin used abstraction as a means to create art that could speak to the language of the inner mind. Stemming from concepts found in Taoism and Zen Buddhism, Martin set out to find a visual form for the immaterial world of the mind, a space where the fleeting presence of perfection and beauty in the natural world was eternal. Because simple geometry, reductive forms, and a systematic approach are all central elements of her paintings, she is often affiliated with the Minimal movements and such artists as Donald Judd, Carle Andre, and Frank Stella. However, Martin aligned herself more with the ideologies of the Abstract Expressionists whose work was steeped in mysticism and spiritual content. The Harvest is one of her mature works, which are distinguished by square formats, grids, or lines drawn on lightly painted canvas in monochromatic color with subtle variations in hue. While the lines appear to be executed with almost a mechanical precision, when viewed closely it becomes clear that they are indeed somewhat irregular. Rather than relying on a straight edge, Martin used string or a measuring tape to guide her pencil. The Harvest is one among many grid paintings bearing a title that refers to nature and landscapes. It is tempting to read these works as abstract representations of natural elements. However, Martin boldly declares, “My work is anti-nature. It is not what is seen. It is what is forever known in the mind.”

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email loebcollections@vassar.edu