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Susan Rothenberg (American, b.1945)
Untitled (Hartford)
1980
Lithograph
Edition of 23 plus proofs
Signed, dated and annotated in pencil
Sheet: 35 x 29 3/4 inches (88.9 x 75.56 cm)
Price on request

Lithograph printed from one stone, a fine, fresh impression of the second and final state of two, the full sheet printed on Arches White Cover paper, with margins, signed, dated and annotated "B.A.T." in pencil by the artist, executed in an edition of 23 numbered examples (this is the single "Bon a Tirer" proof; there were also two printers proofs, 6 Hartford Art School proofs and 3 first state proofs) printed and published by the Hartford Art School, Hartford, Connecticut, in fine condition, unframed.

Exhibited:

Boston, Barbara Krakow Gallery, Susan Rothenberg Prints 1977-1984, March, 1984, catalogue, no.10, illustrated (another example).
 
Des Moines, Des Moines Art Center, Susan Rothenberg Prints, 03 October 1992 - 10 January 1993, no.13 (another example).

Literature:

Krakow, Barbara.  Susan Rothenberg Prints 1977-1984. 1984, Boston, Barbara Krakow Gallery, no.10, illustrated (another example).
 
Maxwell, Rachel Robinson, with contributions by Jeremy Lewison, Wendy Weitman and Keith Brintzenhofe.  Susan Rothenberg, The Prints, A Catalogue Raisonné.  1987, Philadelphia, Peter Maxwell, publisher, p.52, no.12, illustrated (another example).

Notes:

A rare, early and important transitional work, Untitled (Hartford) was executed while Susan Rothenberg was a visiting artist at the Hartford Art School in Hartford, Connecticut.   It was also at a time when the artist's imagery was undergoing the subtle transformation from horse into figure.

Closely related to the large painting Tuning Fork (1980, Private Collection), Untitled (Hartford), depicts a figurative element within the composition that takes on the frontal view of many of Rothenberg's  horse paintings.  At the same time the doubling of the black horse/figure pressed up against the edge of a black field emphasizes the energy and tension seen in the artist's horse paintings, yet the horse characteristics - bowed legs, pointed ears - are lacking.  This solid form coming out of the white field within the center of the composition is clearly more figure than horse.  

Rothenberg has said of the painting, Tuning Fork "After using the horse sideways, later frontally, it turned almost into a figure.  And it turned up in the bare bones.  No superfluous geometry dealing with the edges of the painting, but just the bare bones of the frontal horse, which suggested that a figure was appearing - that the horse was metamorphosing into a human figure.  I realized that there weren't many of those images left, that it had absolutely naturally reduced itself to a place where I was going to be forced to continue - differently."

Untitled (Hartford) is to Rothenberg's prints what Tuning Fork and several other works such as Wishbone (1979, Private Collection) are to her paintings - an important transitional work.
 
Untitled (Hartford) is in the collection of the Des Moines Art Center, Des Moines, Iowa, the Joseloff Gallery at the University of Hartford, West Hartford, Connecticut and the Hartford Art School, West Hartford, Connecticut.