Color Abstraction 1967 by Robert Goodnough
Color Abstraction
Robert Goodnough’s Color Abstraction and the Language of Post-Painterly Space
In the late 1960s, as Abstract Expressionism’s gestural fervor began to cool, Robert Goodnough emerged as a pivotal figure in the transition toward a more disciplined, chromatic abstraction. Color Abstraction (1967) exemplifies this shift—a work where form dissolves into luminous planes of color, yet retains a structural rigor that distinguishes it from the movement’s earlier, more chaotic iterations. Goodnough, a second-generation Abstract Expressionist, rejected the mythic angst of Pollock or de Kooning in favor of a cooler, more architectural approach. Here, the canvas becomes a field of intersecting hues, each shape locked in a tension between autonomy and harmony.
The painting’s title is almost tautological, a declaration of intent: this is abstraction distilled to its essence, where color does not merely describe but constructs. Goodnough’s method—layering translucent glazes over opaque grounds—creates a depth that belies the work’s flatness, a paradox central to its appeal. As the Museum of Modern Art notes in its surveys of the period, artists like Goodnough “redefined abstraction as a space of contemplation rather than catharsis,” a sentiment embodied in this work’s measured balance of warmth and restraint. The palette—earthy ochres punctuated by flashes of cobalt—anchors the composition in a tangibility rare for non-objective art, inviting viewers to project their own spatial logic onto its ambiguities.
Goodnough in the Late 1960s: Between Gesture and Geometry
By 1967, Robert Goodnough had spent over two decades refining an approach that bridged the raw energy of Abstract Expressionism with the emerging clarity of Color Field painting. Unlike his peers who embraced either pure lyricism (such as Helen Frankenthaler) or hard-edged minimalism (like Ellsworth Kelly), Goodnough carved a middle path. His works from this era, including Color Abstraction, reveal a fascination with the edge—not as a boundary, but as a site of interaction. The irregular, almost hand-cut contours of his forms suggest a dialogue between spontaneity and control, a tension that defines his contribution to post-war American art.
Goodnough’s career trajectory mirrored the broader evolution of abstraction. Having studied under Hans Hofmann in the 1940s, he absorbed the lessons of European modernism before forging a distinctly American idiom. As The Art Story observes, his later works “abandoned the all-over composition in favor of discrete, floating elements,” a shift evident in Color Abstraction’s segmented yet cohesive structure. The painting’s restrained dynamism reflects its moment: a period when abstraction was no longer a radical act but a language to be refined.
What sets Color Abstraction apart is its refusal to resolve into either pure opticality or symbolic depth. Goodnough’s forms hover—neither advancing nor receding—creating a spatial conundrum that rewards prolonged viewing.
The Making of Color Abstraction: Technique and Materiality
Layered Glazes and Subtractive Form
Goodnough’s process for Color Abstraction began with a heavily textured ground, into which he carved and scraped before applying thin, translucent layers of oil. This subtractive method—removing paint to reveal underlying strata—created a palimpsest effect, where earlier decisions remain visible as ghosts beneath the surface. The ochre and umber tones likely stem from this initial layering, with brighter blues and whites added later to punctuate the composition. The result is a surface that fluctuates between matte and luminous, depending on the light and angle of view.
Compositional Rhythm and Asymmetry
The painting’s structure defies classical balance. Goodnough divided the canvas into uneven quadrants, each dominated by a distinct hue or texture, yet linked through subtle repetitions of shape. The largest form—a diagonal ochre plane—anchors the work, while smaller, irregular shapes (a floating blue rectangle, a jagged white fragment) disrupt any sense of symmetry. This asymmetry generates a dynamic tension, as if the elements are in the process of settling into place. The absence of a central focal point forces the viewer’s eye to circulate, discovering new relationships with each glance.
Own This Landmark of Post-Painterly Abstraction
Bring Robert Goodnough’s Color Abstraction into your space as a gallery-framed print, ready to hang. Each piece is crafted with archival inks and acid-free paper, ensuring vibrant color for decades. Free worldwide shipping included—no hidden fees, no minimum order.
Add to Cart — Ships FreeStyling Color Abstraction: A Designer’s Perspective
This print’s earthy palette and geometric abstraction make it remarkably versatile, equally at home in modern and traditional interiors. The 30×40 cm (12×16") size suits a variety of spaces: centered above a console table in an entryway, as a focal point in a home office, or paired with other abstractions in a gallery wall. The dominant ochres and blues complement warm wood tones (walnut, teak) and neutral textiles (linen, wool), while the white accents provide contrast against darker walls. For a contemporary look, frame it alongside mid-century furniture—think a Wegner wishbone chair or a Nelson bench—to emphasize its historical roots in 1960s design.
Lighting plays a crucial role in revealing the print’s depth. Position it where it will catch natural light during the day, or illuminate it with a picture light to enhance the glazed layers’ luminosity. Avoid overly busy surroundings; Color Abstraction thrives in spaces where its quiet complexity can unfold without competition. In a minimalist interior, let it stand alone as a statement piece. In a more eclectic setting, balance its abstraction with organic textures—a ceramic vase, a woven rug—to ground the composition.
What type of frame is included, and how is it constructed?
The print arrives in a gallery-quality frame made from solid wood with a matte finish, chosen to complement the artwork’s palette. The frame includes a protective acrylic glazing and acid-free backing to ensure long-term preservation.
Where do you ship, and how long does delivery take?
We offer free shipping to all countries, with no minimum purchase required. Delivery typically takes 5–10 business days, depending on your location. All orders include tracking and insurance.
How long will the colors remain vibrant?
The print is produced with archival pigment inks on acid-free paper, rated to resist fading for 80+ years under normal lighting conditions. Avoid direct sunlight to maximize longevity.
What is your return policy?
You may return the print within 30 days of delivery for a full refund, no questions asked. We cover return shipping costs if the item arrives damaged or defective.
Sources & Further Reading
- The Museum of Modern Art. "Abstract Expressionism." moma.org
- The Art Story. "Robert Goodnough: American Abstract Painter." theartstory.org
- Smithsonian American Art Museum. "Color Field Painting and Beyond." americanart.si.edu
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Own this framed print of Color Abstraction (1967), a defining work from Robert Goodnough’s mature period. Each order includes gallery-quality framing, free global shipping, and a 30-day return window. Your print will arrive ready to hang—no additional fees, no surprises.
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