Pygmalion

Norman Bluhm’s Mythic Abstraction: The Story Behind Pygmalion

The 1979 painting Pygmalion marks a pivotal moment in Norman Bluhm’s late career, where his signature gestural abstraction collided with classical mythology. Unlike his earlier works, which often leaned into pure color field experimentation, this piece weaves a narrative thread—albeit abstractly—through its title’s reference to the Greek sculptor who fell in love with his own creation. The painting’s swirling, almost calligraphic lines and layered glazes reflect Bluhm’s deep engagement with both Eastern brushwork traditions and the physicality of Abstract Expressionism. By 1979, Bluhm had long abandoned the rigid geometries of his 1950s work, embracing instead a fluid, lyrical approach that The Art Story describes as “a synthesis of automatic drawing and controlled spontaneity.”

What distinguishes Pygmalion is its tension between chaos and precision. The canvas is dominated by a central vortex of deep blues and ochres, punctuated by sharp white accents that seem to carve through the composition like lightning. This dynamic interplay mirrors the myth itself—a struggle between creation and obsession, control and surrender. Bluhm’s use of thin, translucent washes over denser impasto passages creates a sense of depth that invites prolonged viewing, a technique he refined during his years in Paris alongside Sam Francis and Joan Mitchell. The painting’s scale—originally over six feet tall—demanded physical engagement, a quality that translates even in this 30×40 cm framed print, where the intricate details remain vivid.

Bluhm in the 1970s: Between Gesture and Symbol

By the late 1970s, Norman Bluhm had cemented his reputation as a bridge between the first and second generations of Abstract Expressionists. Unlike his peers who clung to the movement’s early dogmas, Bluhm increasingly incorporated symbolic references into his work, though never literally. His 1970s output, including Pygmalion, reflects a turn toward what critic Carter Ratcliff termed “lyrical abstraction with a narrative pulse.” This period saw Bluhm experimenting with titles drawn from literature and mythology—Thamyris, Mojabe, Easter Morning—while maintaining a commitment to pure visual language. The Smithsonian American Art Museum notes that his late works “reveal a painter deeply engaged with the act of painting as both a physical and intellectual pursuit,” a duality that Pygmalion embodies through its fusion of spontaneous mark-making and deliberate composition.

Bluhm’s process during this time involved building up the canvas in stages, often letting layers dry before adding contrasting elements. In Pygmalion, the underpainting’s warm umbers peek through the cooler blues and blacks, creating a dialogue between hidden and visible—a metaphor, perhaps, for the myth’s themes of revelation and transformation. His use of a squeegee to scrape away paint in certain areas, a technique borrowed from his friend Joan Mitchell, adds texture that catches the light differently depending on the viewer’s angle. This tactile quality is preserved in the archival printing of this framed edition, where the matte finish replicates the original’s subtle variations.

Pygmalion is less about depicting a story than about capturing the energy of creation itself—the friction between intention and accident that defines both myth and abstraction.

The Making of Pygmalion: Technique and Innovation

Composition: The Vortex as Focal Point

The painting’s spiraling center—a hallmark of Bluhm’s 1970s work—serves as both a structural anchor and a point of visual tension. Unlike the all-over compositions of Pollock or the color fields of Rothko, Bluhm’s vortices create a controlled chaos, drawing the eye inward before propelling it outward along diagonal thrusts of color. In Pygmalion, this central motif is counterbalanced by two vertical columns of darker pigment on either side, a device that grounds the composition and prevents the swirl from overwhelming the viewer. The asymmetry of these elements reflects Bluhm’s study of Japanese sumi-e painting, where negative space plays an active role in the narrative.

Color: Contrast and Transparency

Bluhm’s palette here is deceptively simple: ultramarine blue, raw umber, titanium white, and touches of cadmium red. The innovation lies in their application. Thin glazes of blue over ochre create optical mixing, where colors appear to shift when viewed from different distances—a technique Bluhm adapted from his experiments with stained glass in the 1960s. The white accents, applied with a dry brush, act as both highlights and incisions, breaking up the darker passages with abrupt clarity. This interplay between transparency and opacity gives the print its luminous quality, particularly when viewed under natural light, where the archival inks’ vibrancy becomes most apparent.

Displaying Pygmalion: A Curator’s Approach

This print’s dynamic composition and rich tonal range make it a versatile centerpiece for modern interiors. The 30×40 cm dimensions suit both intimate and expansive spaces: above a console table in a narrow hallway, where its vertical energy draws the eye upward; or as the focal point of a gallery wall, paired with smaller monochrome works to let its colors dominate. The deep blues and umbers complement warm wood tones—think walnut mid-century furniture or teak flooring—while the white accents pop against dark walls in charcoal or navy. For a contemporary contrast, hang it in a minimalist white room where its textural complexity becomes the primary visual interest. Avoid overly busy patterns nearby; Pygmalion demands breathing room to reveal its nuances, much like the original does in the MoMA’s collection.

More Works by Norman Bluhm

Explore Bluhm’s evolving abstract language through these key pieces from the same decade, each offering a distinct interpretation of his lyrical approach.

Norman Bluhm

Mojabe

View print

Norman Bluhm

Round About

View print

Norman Bluhm

Easter Morning

View print

Norman Bluhm

Thamyris

View print

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