Washington D C December 1964 10 i 1964 by Edward Corbett
Washington D.C. December 1964 #10 I
Edward Corbett’s Abstract Washington: A 1964 Study in Dynamic Form
This 1964 painting from Edward Corbett’s Washington D.C. series distills the city’s political energy into pure abstraction. Unlike his earlier landscape-based works, December 1964 #10 I abandons literal representation entirely, using jagged black contours and layered ochres to evoke the tension of a capital in transition. The composition’s fractured planes reflect Corbett’s shift toward gestural abstraction during the mid-1960s, a period when he increasingly rejected regionalist labels in favor of a more universal visual language.
The painting’s title anchors it to a specific moment—December 10, 1964—just weeks after Lyndon B. Johnson’s landslide presidential victory. While Corbett never explicitly tied his abstractions to current events, the work’s agitated lines and compressed space resonate with the era’s social upheaval. As the Smithsonian American Art Museum notes in its overview of 1960s abstraction, artists like Corbett “used non-representational forms to channel the decade’s underlying anxieties,” though Corbett’s approach remained more restrained than his New York School contemporaries. The 30×40 cm format, intimate yet assertive, demands close viewing of its textured surfaces and deliberate mark-making.
From New England Landscapes to Abstract Urbanism
By 1964, Edward Corbett had spent over a decade refining his transition from the New England landscapes that first gained him recognition. His move to Washington D.C. in the late 1950s marked a turning point, as the city’s monumental architecture and political gravity began to inform his work. The Washington D.C. series, initiated in 1963, became his most sustained exploration of abstraction, stripping away all but the essential tension between structure and spontaneity.
Corbett’s method during this period involved building up layers of oil paint, then incising or scraping back to reveal underlying colors—a technique visible in December 1964 #10 I’s central ochre field, where thinner black lines cut through denser pigment. This approach aligned with what The Art Story describes as the “second-generation Abstract Expressionists’” focus on “process as subject,” though Corbett’s work retained a compositional rigor absent in more chaotic Action Painting. His deliberate framing of the canvas edges, visible in this print’s precise 30×40 cm proportions, further distinguishes his practice from the all-over compositions of peers like Franz Kline.
Corbett’s Washington series transforms the city from a place of power into a field of pure visual tension—where every line feels like a redrawn boundary, and every scraped layer suggests an erased decree.
The Precision Behind the Abstraction
Composition: Controlled Chaos
The painting’s asymmetrical balance hinges on the contrast between its dense lower quadrant and the sparser upper field. Corbett divides the canvas with a diagonal black stroke that begins thick at the bottom left, then tapers into a hairline toward the top right—a device that directs the viewer’s eye while maintaining instability. This diagonal, a recurring motif in the Washington series, mirrors the city’s own geometric contradictions: its grid of streets interrupted by the organic flow of the Potomac.
Surface: Layered Time
Close examination reveals at least three distinct layers of paint. The base layer, a warm ochre, peeks through scraped-away sections of the middle stratum—a cooler gray-green applied with broader brushstrokes. The final black lines, applied with a palette knife, sit atop these like architectural drawings over a weathered map. This stratification creates a tactile depth that rewards prolonged viewing, particularly in the framed print’s matte finish, which preserves the original’s subtle texture without glare.
Own This Fragment of 1964
Gallery-framed in a slim black profile that complements Corbett’s stark lines, this 30×40 cm print arrives ready to hang. Free worldwide shipping ensures it reaches your wall—whether in Washington, Tokyo, or Berlin—without hidden fees.
Add to Cart — $24999Where This Print Commands Attention
The print’s high-contrast palette and dynamic composition make it a focal point in three types of spaces. In minimalist interiors, its black-and-ochre scheme anchors neutral tones: pair it with a white or light gray wall to emphasize the framed edges. For mid-century modern settings, the 30×40 cm size (12×16 inches) fits ideally above a credenza or between two armchairs, where its vertical energy can counterbalance horizontal furniture lines. Avoid busy patterns nearby—the painting’s intricate textures demand breathing room.
Lighting matters: a directed spotlight (like a picture light or track head) will accentuate the print’s layered surfaces, while diffuse natural light softens its intensity. In smaller rooms, the compact dimensions prevent overwhelm while still asserting presence. For collectors of 1960s abstraction, it bridges the gap between the raw emotion of de Kooning and the geometric order of Diebenkorn—a conversation starter for walls that already host Rothko posters or Motherwell reproductions.
Frequently Asked Questions
What frame is included, and how is it constructed?
The print arrives in a gallery-style black frame with a 2 cm face width, made from solid wood with an acid-free mat board window. The frame’s depth accommodates the print without glass (to preserve texture visibility), and includes pre-installed hanging hardware for immediate display.
Where do you ship for free, and how long does delivery take?
Free shipping is available to all countries, including the US, EU, UK, Canada, Australia, and Japan. Production takes 2–3 business days, with delivery in 5–10 business days via tracked courier (DHL, FedEx, or regional equivalents).
How long will the print’s colors remain vibrant?
We use archival pigment inks rated for 100+ years without fading under normal lighting conditions. The paper is 300 gsm, pH-neutral, and lignin-free, meeting museum standards for color permanence. Avoid direct sunlight to maximize longevity.
What is your return policy?
You may return the framed print within 30 days of delivery for a full refund, no questions asked. We provide a prepaid return shipping label for your convenience. The print must arrive back in its original packaging and undamaged condition.
Sources & Further Reading
- Smithsonian American Art Museum. "Abstract Expressionism in the 1960s." americanart.si.edu
- The Art Story. "Edward Corbett: Later Abstractions." theartstory.org
- Tate. "Second-Generation Abstract Expressionism." tate.org.uk
More Works by Edward Corbett
Explore Corbett’s evolution from New England landscapes to his signature abstractions.
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Further Reading
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Ready to Bring Corbett’s 1964 Vision Home?
This framed 30×40 cm print ships free worldwide in 5–10 business days, with a 30-day return window. The gallery-quality frame and archival materials ensure it arrives ready to hang—and built to last.
Add to Cart — $24999