Robert Murray (artist)

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Robert Murray
Born (1936-03-02) March 2, 1936 (age 85)
Vancouver, British Columbia
NationalityCanadian
EducationRegina College School of Art (1956-1958); Allende Institute, San Miguel de Allende, Mexico (1958-1959)
Known forabstract sculptor
Movementworks within the Minimalist vernacular
Spouse(s)Diana Lynn Armatage (married 1959)

Robert Gray Murray (born March 2, 1936) is considered Canada`s foremost abstract sculptor.[1] He also has been called the most important sculptor of his generation worldwide.[2] His large outdoor works are said to resemble the abstract stabile style of Alexander Calder, that is, the self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from Calder`s mobiles.

Biography[]

Born in Vancouver, British Columbia, and raised in Saskatoon, Saskatchewan, he has lived in the United States since 1960. He began his career as a painter, studying at the Regina College School of Art (1956-1956) and the Allende Institute, San Miguel de Allende, Mexico (1958-1959), then worked at Saskatoon Technical Collegiate before attending an Emma Lake Artist's Workshop in 1959 with Barnett Newman with whom he formed a lifelong friendship.[3] He moved to New York City in 1960 on a Canada Council grant,[4] and although he had never studied sculpture in the formal sense, went on to produce modernist, elegant, brightly colored welded-metal constructions.[5] Murray's works often recall natural themes through shape, color, and of course, name; other works are named after people, places, or things in North America. Murray’s earliest sheet-metal sculptures were large-scale upright columnar configurations that were made by cutting and bending steel plates to form angles and corners. They were coloured with industrial finishes and created with the aid of fabricators.[2] In 1974, Murray’s sculptures became more freely formed than before, with more crennelated surfaces[6] and folded edges, almost like paper.[7] Murray had a new concern with highly fluid curves that combined complexity of form with subtler colour.[8] His ambition was to incorporate colour as a part of the metal.[9]

Murray usually works to an architectural scale in his sculptures; they have no content but form. They can be viewed as belonging to a past aesthetic - Modernism - and lacking in contemporary relevance.[10] But a reviewer of a recent show, Models, Paintings and Sculpture, much of it completed in the last three years, at Studio 21 Fine Art, Halifax, wrote that, when well executed, a Modernist like Murray can still make objects that achieve a "clarity and sureness that is somehow comforting".[10]

Work in Collections[]

United States[]

Alaska

  • Nimbus, 1978, Alaska State Museum, Juneau

California

  • Chinook, 1968, Berkeley Art Museum, University of California, Berkeley[11]
  • "Duet (Homage to David Smith)". artslb.org. California State University, Long Beach. Retrieved 2021-01-09.

Delaware

  • Sioux, 1984, Delaware Art Museums, Wilmington[12]

District of Columbia

Georgia

  • Montauk, 1967, Adams Park Library, Atlanta,

Illinois

  • Windhover, 1970, Hinsdale Junior High School, Hinsdale

Maine

  • Pointe-au-baril III, 1995, collection of Cynthia Stroud, Brooklin[14]

Massachusetts

and Drawing after Quinnipiac, Seven Views, 1975, University Gallery, University of Massachusetts, Amherst[15]

Michigan

  • Nordkyn, 1973-4, Ferry Mall, Wayne State University, Detroit
  • Windhover, 1976, Grand Rapids Art Museum, Grand Rapids

Minnesota

Nebraska

  • Nanticoke, 1980, Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln

New Jersey

  • Hillary, 1983, Grounds for Sculpture, Hamilton
  • Agulapak", 1974, New Jersey State Museum, Trenton

New York

  • Chilkat, 1977, Metropolitan Museum, New York[17]
  • Megan's Red, SUNY, Fredonia
  • Kiana, 1978, Storm King, Mountainville
  • Spinnaker, 1979, JPMorgan Chase Art Collection, New York
  • Siwash, Vassar Art Gallery, Vassar College, Poukeepsie
  • Shawanagan. 1968, Everson Museum of Art, Syracuse, New York
  • Spring, 1965, Whitney Museum of American Art, New York[18]

Ohio

Pennsylvania

  • Saginaw, 1979, collection of the artist, West Grove, Pennsylvania[19]
  • Mandan, 1985, collection of the artist, West Grove, Pennsylvania[20]
  • Palestina, 1985, collection of the artist, West Grove, Pennsylvania[21]
  • Pattern, 1993-1996, collection of the artist, West Grove, Pennsylvania[22]
  • Pointe-au-baril II, 1995, collection of the artist, West Grove, Pennsylvania[23]
  • Bethany, 1981, collection of W. Dixon Stroud, West Grove, Pennsylvania[24]
  • Lillooet, 1985, collection of W. B. Dixon Stroud, West Grove, Pennsylvania[25]

Texas

Chilkat, 1977, on loan from the Metropolitan Museum of Art Landmarks, the public art program of The University of Texas at Austin[7]

Wisconsin

International[]

Canada[]

Alberta

British Columbia

Ontario

  • TO, 1963, Art Gallery of Ontario, Toronto[31]
  • Swing, 1974, Art Gallery of Ontario, Toronto[32]
  • Ferus, 2001, Pointe au Baril
  • Kawaatebiishing, 2003, Pointe au Baril
  • Pointe au Baril II, 2003, Pointe au Baril
  • Gap, 1973, Canada Council Art Bank, Ottawa
  • Huron, 1974, Canada Council Art Bank, Ottawa
  • Juneau, 1976, Canada Council Art Bank, Ottawa[6][28]
  • Prairie, 1965–66, Canada Council Art Bank, Ottawa[33]
  • Roll, 1973, Canada Council Art Bank, Ottawa
  • Sitka, 1976, Canada Council Art Bank, Ottawa
  • Split, 1973, Canada Council Art Bank, Ottawa
  • Togiak, 1974, Canada Council Art Bank, Ottawa[8]
  • Tundra (for Barnett Newman), 1972-3, Carleton University, Ottawa
  • Haida, 1973, Dept. of External Affairs, Ottawa
  • Adam and Eve, 1962-3, National Gallery of Canada, Ottawa[34]
  • Arroyo, 1968, National Gallery of Canada, Ottawa[35]
  • Breaker, 1965, National Gallery of Canada, Ottawa[36]
  • Burwash, 1970, ed. of 17, National Gallery of Canada, Ottawa[37]
  • Caldwell, 1973, lithograph, National Gallery of Canada, Ottawa[38]
  • Chilcotin, 1969, National Gallery of Canada, Ottawa[6]{sfn|Leclerc |1999|p=104}}
  • Untitled, 1969, National Gallery of Canada, Ottawa[39]
  • Working Model for "Fountain Sculpture" 1959, National Gallery of Canada, Ottawa[40] and Drawing for Fountain Sculpture, National Gallery of Canada, Ottawa [41]
  • Trent Series I-10, 1981, National Gallery of Canada, Ottawa [42]
  • Lillooet, 2007, Snug Harbor
  • Mbishkaad]/To Ascend, 2004, One King West, Toronto
  • Becca's H, 1973, University of Toronto, Toronto
  • Cascade, 1983, University College art collection, University of Toronto, Toronto[43]
  • Charybdis, 1962, Paul and Dinah Arthur, Toronto[44]
  • Ferus, 1963, Paul and Dinah Arthur, Toronto[45]
  • Lazarus 1961-2, Estate of Marie Fleming, Toronto[46]
  • Mesa (1967) Mr. and Mrs. David Mirvish, Toronto[6]
  • Arthabaska, 1966-1967, Gallery Stratford, Stratford, Ontario[47]

New Brunswick

Saskatchewan

  • Rainmaker, 1959–60, Saskatoon City Hall, Saskatoon
  • Study for Saskatoon, 1976, Mendel Art Gallery, Saskatoon

Not Located[]

  • Chief (1964)
  • Bank (1968)
  • Teal (1969)
  • Garnet (1974)
  • Magnetawan (1974)
  • Tikchik (1974)
  • Kodiak (1975)
  • Seward (1976)
  • Willow (1976)
  • Alagash, 1978
  • Chesapeake (1980)
  • Spinnaker (1980)
  • Susquehana (1980)
  • Pointe au Baril IX (2003)
  • No Exit (2004)
  • Ferus (model B) (2008)

References[]

  1. ^ Boyanoski, Christine (2010). Sculpture before 1950, The Visual Arts in Canada: the Twentieth Century. Foss, Brian., Paikowsky, Sandra., Whitelaw, Anne (eds.). Don Mills, Ont.: Oxford University Press. p. 153. ISBN 978-0-19-542125-5.
  2. ^ Jump up to: a b Gagnon, François. "Sculpture". www.thecanadianencyclopedia.ca. Canadian Encyclopedia. Retrieved 2020-12-20.
  3. ^ Leclerc 1999, p. 20.
  4. ^ MacDonald 1979, p. 1341.
  5. ^ Tippett 2017, p. 159.
  6. ^ Jump up to: a b c d e f g h Marshall 1979, pp. 8-13.
  7. ^ Jump up to: a b c "Chilkat". LANDMARKS. 2008-07-27. Retrieved 2020-08-31.
  8. ^ Jump up to: a b Leclerc 1999, p. 110.
  9. ^ Leclerc 1999, p. 122.
  10. ^ Jump up to: a b Cronin, Ray. "Robert Murray". canadianart.ca. Canadian Art, August 9, 2018. Retrieved 2021-01-10.
  11. ^ Leclerc 1999, p. 100.
  12. ^ Leclerc 1999, p. 126.
  13. ^ Leclerc 1999, p. 88.
  14. ^ Leclerc 1999, p. 140.
  15. ^ Leclerc 1999, p. 111.
  16. ^ Leclerc 1999, p. 94.
  17. ^ Leclerc 1999, p. 112.
  18. ^ Leclerc 1999, p. 89.
  19. ^ Leclerc 1999, p. 116.
  20. ^ Leclerc 1999, p. 127.
  21. ^ Leclerc 1999, p. 130.
  22. ^ Leclerc 1999, p. 136.
  23. ^ Leclerc 1999, p. 138.
  24. ^ Leclerc 1999, p. 120.
  25. ^ Leclerc 1999, p. 128.
  26. ^ Leclerc 1999, p. 102.
  27. ^ Leclerc 1999, p. 74.
  28. ^ Jump up to: a b Leclerc 1999, p. 114.
  29. ^ Leclerc 1999, p. 115.
  30. ^ Leclerc 1999, p. 118.
  31. ^ Leclerc 1999, p. 86.
  32. ^ Leclerc 1999, p. 109.
  33. ^ Leclerc 1999, p. 92.
  34. ^ Leclerc 1999, p. 82.
  35. ^ Leclerc 1999, p. 98.
  36. ^ Leclerc 1999, p. 90.
  37. ^ Leclerc 1999, p. 106.
  38. ^ Leclerc 1999, p. 108.
  39. ^ Leclerc 1999, p. 103.
  40. ^ Leclerc 1999, p. 70.
  41. ^ Leclerc 1999, p. 72.
  42. ^ Leclerc 1999, p. 132-134.
  43. ^ Leclerc 1999, p. 124.
  44. ^ Leclerc 1999, p. 76.
  45. ^ Leclerc 1999, p. 84.
  46. ^ Leclerc 1999, p. 78.
  47. ^ Leclerc 1999, p. 96.
  48. ^ Leclerc 1999, p. 80.

Bibliography[]

External links[]

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