Colors With Yellow Post Painterly Abstraction

Robert Goodnough’s Bold Exploration of Color and Form

This dynamic abstraction by Robert Goodnough exemplifies the artist’s signature approach to Post-Painterly Abstraction, a movement that emerged in the 1950s as a reaction against the gestural excesses of Abstract Expressionism. Goodnough, alongside peers like Kenneth Noland and Morris Louis, sought to distill painting to its essential elements: color, shape, and composition. The vibrant yellow that dominates this work reflects his fascination with chromatic intensity, a hallmark of his mature period. Unlike the turbulent brushwork of earlier abstractionists, Goodnough’s surfaces are deliberate and controlled, yet they retain a pulsating energy through his strategic use of contrasting hues.

The composition’s geometric precision belies its emotional resonance. Goodnough often described his work as “color events,” where each tonal area interacts with its neighbors to create optical vibrations. As noted by The Art Story, his abstractions from this phase demonstrate a “reconciliation of hard-edge clarity with the expressive potential of pure color.” This particular piece, with its interlocking planes of yellow, red, and blue, invites prolonged viewing as the eye navigates the relationships between forms. The absence of a central focal point challenges traditional notions of pictorial hierarchy, a radical departure from the figure-ground dynamics of earlier modernist painting.

Goodnough and the Washington Color School

Robert Goodnough’s career spanned six decades, but his most influential work emerged during the 1950s and 1960s when he became associated with the Washington Color School. This loose collective of artists, centered in Washington D.C., prioritized color field painting and hard-edge abstraction over the emotive brushwork of New York’s Abstract Expressionists. Goodnough’s contributions to this movement were distinguished by his architectural approach to composition, where color became the primary subject rather than a descriptive tool.

By the time he created works like Colors With Yellow Post Painterly Abstraction, Goodnough had fully embraced the tenets of Post-Painterly Abstraction as articulated by critic Clement Greenberg. His canvases from this period reject illusionistic space in favor of flat, declarative color areas that assert their own physical presence. The Smithsonian American Art Museum’s collection notes highlight how Goodnough’s work “bridges the gap between the spontaneity of Abstract Expressionism and the cool precision of Minimalism,” a duality evident in this print’s balanced yet vibrant arrangement.

Goodnough’s yellow-dominated abstractions represent a paradox: they are simultaneously restrained in execution and explosive in visual impact. The tension between geometric order and chromatic intensity gives these works their enduring vitality.

The Making of a Post-Painterly Composition

Color as Structure

Goodnough’s method involved meticulous planning of color relationships before applying paint. In this work, the dominant yellow acts as both ground and figure, creating an ambiguous spatial effect. The artist typically used acrylic paints for their matte finish and color purity, applying them in thin, even layers to eliminate brushstrokes. The precise edges between color fields were achieved through careful masking, a technique that distinguishes Post-Painterly Abstraction from the more fluid approaches of earlier abstractionists.

Optical Dynamics

The composition’s power lies in its carefully calibrated contrasts. The warm yellow interacts with the cooler blues and reds to produce an optical vibration that seems to make the surface pulse. Goodnough often spoke of creating “color events” where hues would “activate” one another. Here, the asymmetrical placement of the red form disrupts the composition’s balance, introducing a dynamic tension that keeps the viewer’s eye moving across the surface.

Displaying Goodnough’s Abstraction in Your Space

This 30×40 cm (12×16”) print makes a striking statement in both modern and traditional interiors. The dominant yellow pairs beautifully with neutral walls in shades of warm white or soft gray, where it becomes the room’s focal point. For a bolder approach, consider hanging it against deep navy or charcoal walls to intensify the color contrasts. The print’s medium scale works equally well above a console table in an entryway or as part of a gallery wall in a living space. Its geometric precision complements mid-century modern furniture, while the vibrant palette adds warmth to minimalist decor schemes.

More Works by Robert Goodnough

Explore additional framed prints from this pioneering Post-Painterly abstractionist.

Robert Goodnough

Red Blue And Grey Post Painterly Abstraction

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Robert Goodnough

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Robert Goodnough

Untitled

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Robert Goodnough

Blue And Green

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