Red Yellow Blue White and Black II

In an age of modernity, where religion’s powers are waning and art was moving away from the representative, Ellsworthy Kelly wondered what would become of the altar-piece. Spending nearly a decade in Europe in the late 40s and early 1950s, he spent time in classical churches and cathedrals and became infatuated with the large scale, multi-panel works that served as their centre-pieces. On his return to America, he tried to incorporate this idea of art works composed of separate pieces, each serving as stand-alone painting but contributing ultimately to something greater than the sum of their parts. This seven panel work was the answer to his wondering, arranging the colours through chance techniques, he removed himself from the aesthetic decision making of the work and instead let the beauty of the artwork live in the intersections of its medium. The dialogue happens at the edges of the panels, where block colours interact across flat planes, and like the religious altarpieces that inspired it, the work tells a story of humanity and emotion when seen in its totality.