The Window | Francisco Zúñiga (age 59)
1971 | oil on canvas | Private collection
"... Zúñiga's earthy, poignant drawings and paintings depict Mexico's indigenous people in naturalistic settings. ..."
Corbis: item page, sample image above
White over Red on Blue | Tony Tuckson (age 50)
1971 | polymer paint on board | 84x96 in | National Gallery of Australia, Canberra
"... Tuckson helped bring Aboriginal and Melanesian art into major art collections in Australia. He had also collected Aboriginal grave posts from Melville Island, north of Darwin. These posts were often painted in white clay and ocher, and it has been suggested that the white verticals and red ocher ground here represent such posts and their surroundings."
National Gallery of Australia: item page with 600x522 (above)
Mr. and Mrs. Clark and Percy | David Hockney (age 33–34)
1970–71 | acrylic on canvas | 120x84 in / 304x213 cm | Tate Collection, London, UK
"... Along with The Room, Manchester Street 1967, this is the only explicit picture of London that Hockney painted before he moved to California. ... Hockney's own comments on the painting suggest that achieving the quality of light was his main concern; he worked both from life and from a series of photographs to achieve the desired effect. ..."
Tate: item page with 730x515
Artchive: 1093x760 (above)
Note that the woman is Celia Birtwell, whom we've seen before.
Present day. (Also gives scale!)
Independent feature
Ocean Park No. 27 | Richard Diebenkorn (age 48)
1970 | oil on canvas | 80x100 in / 203x254 cm | Brooklyn Museum of Art, Brooklyn, NY, USA
"The Ocean Park series takes its name from the Californian beachfront community where Richard Diebenkorn (1922–93) painted from 1966 to 1988. These large, abstract canvases represent the culmination of his career as one of the most noted American artists of the twentieth century. ... 'The abstract paintings,' Diebenkorn explained, 'permit an all-over light which wasn't possible for me in the representational works, which seem somehow dingy by comparison.' Ocean Park No. 27 exemplifies the artist's attitude toward painting as a forum for the exploration of the purity of color and shape. ..."
Brooklyn Museum: item page with two images: one (above) and two — see both, since tints are different
Chance and Order 5 (Red) | Kenneth Martin (age 65)
1970 | oil on canvas | 48x48 in / 122x122 cm | Arts Council Collection, Hayward Gallery, London, UK
"... In the late 1960s Martin started a set of works on both paper and canvas that he termed the Chance and Order series, and this painting is fifth in the sequence. To create the paintings, Martin set up a grid on the canvas and numbered its points of intersection. He then drew corresponding numbers 'out of a hat' — by chance. Each pair of numbers then became a line on the grid. ..."
Arts Council Collection: item page (small image above)
Google image search: others
Travels of an Old Tingari Man | Ronnie Tjampitjinpa (age ~27)
1970 | acrylic on linen | 60¼x48 in / 153x122 cm | Private collection
"... [Australian] Aboriginal belief focuses on immortal ancestor spirits; the Tingari are one of these groups of ancestral beings, who brought law and culture to the people of the western desert. For thousands of years, the Aborigines have communicated with their ancestors through art and ritual to invoke their protection and blessings. Ronnie Tjampitjinpa was born around 1943 in Western Australia. He started painting in about 1970, following the Pintupi style, which involves strong circles joined together by connecting lines that relate to the people, the country, and Dreamtime. This latter is a mystical part of Aboriginal culture, which is unlike anything in western beliefs as it includes the story of many things that have happened, how the universe came to be, how human beings were created, and how the Creator intended humans to function within the cosmos. Tjampitjinpa's depiction of TIngari cycles contains information that is forbidden to the general public but integral to the continuity of physical, cultural, and spiritual life in the western desert. He was among the first group of artists who effectively linked ancient stories with modern materials. This painting tells the story of an old man who, in mythical times, traveled through Western Australia. The lines and circles represent his journey, and the angular circles represent the sites he visited."
Bridgeman: item page (sample above)
To Martha's Memory | Jiro Yoshihara (age 65)
1970 | 28¾x36¼ in / 73x92 cm | Albright-Knox Art Gallery, Buffalo, NY, USA
"... In the 1950s Yoshihara began to exhibit with midtown Manhattan's Martha Jackson Gallery. Jackson had been born into the prominent Kellogg family, but was hardly a pampered socialite. Instead she attended the intellectually rigorous all-women's Smith College and worked at what is now known as the Albright-Knox Art Gallery (that owns most of her private collection). ... Part of Martha Jackson's mission was to exhibit works by emerging Abstract Expressionist and Pop artists, especially those still unknown in the United States. Yoshihara was one of her proudest discoveries. After her death in 1969, several artists in her gallery's roster created memorial art, but Yoshihara's jagged white circle on a black background was perhaps the purest representation of her minimalist aesthetic."
Picasa: 603x480 (above)
