The Way Of The Wind

Alice Baber’s Lyrical Abstraction: A Dance of Color and Movement

The Way Of The Wind stands as a defining example of Alice Baber’s mature abstract style, where fluidity and chromatic intensity converge. Created during a period when Baber had fully embraced the spontaneity of watercolor and the boldness of acrylic, this work exemplifies her ability to evoke natural forces through purely abstract means. The title itself suggests a dynamic interplay—wind as both subject and metaphor, rendered not through literal depiction but through sweeping gestures and luminous hues. Baber’s approach, often compared to the Color Field painters of her era, distinguishes itself through a softer, more lyrical touch. As noted by the Smithsonian American Art Museum in their overview of mid-century abstraction, artists like Baber “prioritized emotional resonance over geometric precision,” a principle vividly embodied in this composition’s organic forms and harmonious palette.

The painting’s vertical orientation and layered transparency create a sense of depth that invites prolonged viewing. Baber’s technique—applying thin glazes of pigment to achieve a stained-glass effect—lends the work an inner glow, as if light itself were the medium. This method aligns with her broader practice of blending Eastern and Western artistic traditions, particularly her study of Japanese sumi-e ink painting. The result is a piece that feels simultaneously contemporary and timeless, its abstract language speaking to universal experiences of movement and atmosphere.

Baber and the Second Generation of Abstract Expressionists

Alice Baber emerged in the 1950s and 1960s as part of a cohort often overshadowed by the first-generation Abstract Expressionist giants. Unlike the aggressive gesturalism of Pollock or the monumental scales of Rothko, Baber’s work—including The Way Of The Wind—embodies a more intimate, meditative approach to abstraction. Her career unfolded during a period when women artists like Helen Frankenthaler and Joan Mitchell were redefining abstraction’s possibilities, though Baber’s voice remained distinct. The Art Story’s profile of post-war American abstraction highlights how artists like Baber “expanded the movement’s emotional range,” moving beyond angst toward a more contemplative lyricism.

This painting reflects Baber’s engagement with the natural world, a recurring theme in her oeuvre. Rather than depicting landscapes directly, she distilled their essence into color and form, creating what she called “visual poems.” The vertical bands in The Way Of The Wind suggest everything from wind currents to the strata of geological formations, while the floating orbs evoke celestial bodies or buoyant seeds carried on air. Such ambiguity was intentional; Baber believed art should “hint rather than declare,” allowing viewers to project their own interpretations onto the canvas.

What sets The Way Of The Wind apart is its masterful balance of spontaneity and control—a tension that defines Baber’s best work. The central dark stripe acts as both anchor and catalyst, containing the composition’s energy while propelling the eye upward through progressively lighter hues.

The Alchemy of Baber’s Technique

Layered Transparency

Baber achieved the painting’s luminosity through a meticulous process of glazing. She would apply thin, transparent washes of acrylic or watercolor, allowing underlying layers to remain visible. This technique, inspired by her studies of Renaissance frescoes during travels in Italy, creates a sense of depth that belies the work’s two-dimensional surface. In The Way Of The Wind, the overlapping veils of blue, violet, and ochre produce an almost three-dimensional effect, as if viewing the scene through stratified glass.

Dynamic Composition

The painting’s structure revolves around a central vertical axis, a device Baber frequently employed to organize her abstract spaces. Here, the dark stripe serves as a fulcrum, with diagonal movements radiating outward. The floating circular forms—some solid, others ring-like—introduce rhythmic counterpoints to the linear elements. Their placement follows no strict geometry but instead suggests organic dispersal, reinforcing the wind motif implied by the title. The overall effect is one of controlled chaos, where each element feels both deliberate and spontaneously placed.

Displaying The Way Of The Wind in Your Space

This print’s 30×40 cm dimensions and vertical orientation make it ideally suited for narrow walls or as part of a curated gallery arrangement. The dominant blues and violets pair beautifully with neutral backdrops—think soft grays, warm whites, or even deep charcoal walls that allow the colors to vibrate. For a harmonious display, consider flanking the print with smaller works in complementary tones, or let it stand alone as a focal point above a console table or writing desk. The organic forms resonate particularly well in spaces with natural wood elements or textured fabrics, bridging modern and organic aesthetics. In larger rooms, the 12×16” size invites closer viewing, rewarding attention to Baber’s subtle layering techniques.

More Works by Alice Baber

Discover the breadth of Alice Baber’s abstract vocabulary through these complementary pieces, each showcasing her signature blend of lyrical color and dynamic composition.

Alice Baber

Wheel Of Day

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Alice Baber

Red Passage

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Alice Baber

Before Songs

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Alice Baber

Lord Of The Rainbow

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