Brown And Blue Plank (1968)

About This Work

"Brown And Blue Plank" (1968) by Thomas Downing represents a significant moment in the evolution of abstract art. Created during a period when artists were increasingly moving away from representational imagery, this work embodies the principles of Color Field Painting that emerged in the late 1950s. Downing, along with artists like Kenneth Noland and Morris Louis, sought to explore the emotional and perceptual effects of color without relying on traditional compositional elements. The year 1968 was particularly notable in the art world, with major exhibitions of abstract art taking place in New York and Washington, D.C. "Brown And Blue Plank" was likely shown in one of these exhibitions, contributing to the growing recognition of Color Field Painting as a major artistic movement. The work's title suggests a connection to everyday objects, yet its abstract form invites viewers to engage with the painting on a purely visual level, responding to the interplay of color and shape rather than any representational content.

The title "Brown And Blue Plank" offers an interesting point of entry for understanding this abstract composition. While the work itself consists purely of geometric forms and color fields, the title suggests a connection to everyday objects that might not be immediately apparent. This juxtaposition between the abstract visual language and the concrete reference in the title is characteristic of Downing's approach to art-making. By giving his abstract works titles that reference common objects, Downing invites viewers to find their own connections between the world of abstract color and the familiar objects of daily life. This strategy also reflects the broader tendency in 1960s art to bridge the gap between abstraction and the everyday, as seen in the work of artists like Jasper Johns and Robert Rauschenberg.

The Artist's Period

Thomas Downing's artistic career spanned the 1950s through the 1970s, a period of tremendous change in American art. As a member of the Washington Color School, Downing was part of a group that challenged the dominance of Abstract Expressionism with their focus on color as the primary subject of painting. "Brown And Blue Plank" (1968) was created at a time when Downing was experimenting with the relationship between color and geometric form, moving beyond the simple color fields of his earlier work to incorporate more complex compositions. This period in Downing's career was marked by a series of exhibitions that brought his work to national attention, including shows at the Corcoran Gallery of Art and the Museum of Modern Art in New York. The artist's unique approach to abstraction, combining precise geometric forms with carefully chosen colors, set him apart from his contemporaries and established him as one of the leading figures of the Washington Color School.

Downing's work from the late 1960s, including "Brown And Blue Plank," represents the culmination of his artistic development. Having begun his career with more gestural abstract works, Downing gradually moved toward the precise geometric compositions for which he became known. This evolution mirrored the broader shift in American art from Abstract Expressionism to the various forms of geometric and color-field abstraction that dominated the 1960s. Downing's participation in important group exhibitions during this period, such as the 1965 show "The Washington Color Painters" at the Washington Gallery of Modern Art, helped to establish his reputation as a leading figure in contemporary American art. By 1968, when "Brown And Blue Plank" was created, Downing had developed a distinctive visual language that combined the emotional impact of color with the intellectual rigor of geometric composition.

Artistic Technique

Composition and Form

In "Brown And Blue Plank," Downing employs a technique that involves carefully delineated areas of color to create a sense of balance and tension. The artwork likely began with a series of sketches or studies to determine the precise arrangement of shapes and colors. The final composition would have been executed with meticulous attention to the edges of each color field, ensuring clean lines and unmodulated hues. The use of brown and blue creates a visual vibration that draws the viewer's eye across the canvas, while the plank-like form in the title suggests a reference to everyday objects transformed through abstraction.

Color and Perception

The creation of "Brown And Blue Plank" would have involved a meticulous process of planning and execution. Downing was known for his careful preparation, often creating numerous studies and sketches before beginning a painting. For this work, he likely started with a series of small drawings to determine the precise arrangement of the brown and blue shapes. Once satisfied with the composition, Downing would have used masking tape to create sharp edges between the color fields, applying acrylic paint in thin, even layers to achieve the characteristic flatness of Color Field Painting. The artist's choice of brown and blue was particularly significant, as these colors create a visual tension that draws the viewer's eye across the canvas. This technique of using contrasting colors to create movement and depth was a hallmark of Downing's mature style.

Print & Frame Details

Interior Design Guide

"Brown And Blue Plank" by Thomas Downing offers remarkable versatility as a decorative element in both residential and commercial spaces. In a contemporary living room, the print's bold colors can serve as an inspiration for the entire color scheme, with the brown tones complementing leather furniture and warm wood accents, while the blue hues can be echoed in throw pillows or area rugs. For a more eclectic interior, the geometric composition pairs well with mid-century modern furniture and other abstract artworks. In corporate settings, such as law offices or design studios, the print's clean lines and professional palette make it an excellent choice for reception areas or conference rooms. The 30×40 cm size is particularly well-suited for spaces where the artwork will be viewed from a moderate distance, allowing the colors to make an impact without overwhelming the room.

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