At the head of his eponymous gallery for more than five decades, the art dealer Bernard Jacobson has championed some of the greatest artists of the 20th century through the gallery’s exhibition program as well as its own research and publications. One such artist at the forefront of Jacobson’s efforts is Robert Motherwell—an artist who was both a major player in abstract expressionism and the New York School in the middle of the last century and whose singular work defies easy categorization.
Recently, Jacobson penned an open letter on the subject of Motherwell, describing its importance and influence both in his time and still today, while offering insight into the artist’s work and its continued relevance. from the perspective of Jacobson’s expertise, an expertise acquired over decades of extensive study and research. The letter acts as a complement to the gallery’s three-part series of exhibitions on the artist, which began May 11 with “Robert Motherwell: printson view until June 3, 2023. This exhibition will be followed by a presentation of Motherwell’s collages and works on paper and, finally, a show featuring a selection of her paintings.
We reached out to Jacobson to find out more about the gallery’s current and his own interest in Motherwell, and how he sees Motherwell’s work continuing to influence contemporary painting.
Bernard Jacobson with works and publications on Robert Motherwell. Courtesy of Bernard Jacobson Gallery, London.
The gallery is currently presenting its three-part exhibition celebrating the life and work of Robert Motherwell. Can you tell us a bit more about what inspired the production of this show? Why now?
I have seen that there is a significant decline in interest in Robert Motherwell in America, and he is an artist who I believe is perhaps the greatest that the huge American country has produced so far. now. While the Orient and Europe seem to find more and more importance in this artist and desire to own his works, from prints and collages to his larger paintings, I find much less fascination and wonder coming from Americans . We ourselves have to deal with the fads and fads that now dominate the art market, to which is added the fairly recent obsession with what is called branding, the need to acquire the work of art’s latest star or monumental name from our recent past, in this case, Jackson Pollock and Mark Rothko, who I personally find less substantial in the end product – the painting itself – than Motherwell. But, unfortunately, people used to say that money talks. They’re stale, and now it’s screaming. And the gentlemen advising the buyer don’t seem to have much grip on the vast subject of art.
With each section devoted to the different mediums Motherwell has engaged with, can you tell if you have any favorite works that are or will be exhibited?
I love every work to which Robert Motherwell has added his wonderful signature, from the smallest James Joyce-inspired drawing Ulysses to miraculous gigantic paintings of the “Elegy” or “Open” series. When you realize that you are perhaps as important as Georges Braque, Pablo Picasso and Henri Matisse, you feel the enormous weight weighing on your shoulders and you only sign when you are sure.
Robert Motherwell, The Mexican window (1974). Courtesy of Bernard Jacobson Gallery, London.
Although you were already a Motherwell expert, during the production of the exhibition, did you gain any new knowledge or were you surprised by something you didn’t know before?
Of course, there are always new perspectives, like when you are confronted with a large painting by Piero della Francesca or Nicolas Poussin or Paul Cézanne.
You have described Motherwell as the “strange man” in the context of the Abstract Expressionists. Can you elaborate more on this subject?
I want to think that’s covered pretty well in the letter I sent to the art world. I might add that today’s collector should try to come to art with an open mind and find their own personal passion, rather than that of the herd of independent minds, as has been so well said the great American critic Harold Rosenberg. Unfortunately, we’re almost out of art reviews, so you have to figure it out on your own. But it’s surely the thrill and the necessity.
Bernard Jacobson, California (1959). Courtesy of Bernard Jacobson Gallery, London.
What do you hope visitors to the exhibition take away from all of its parts?
Simply that Robert Motherwell should not be understood too quickly. He, more than any recent artist, is worth your time and dedication.
On a personal level, what attracts you to Motherwell’s work?
On a personal level, I found in Motherwell a world far beyond her friends and colleagues, such as Pollock and Rothko. I admit that De Kooning was a problem for me because I find him equal to Motherwell, although he comes from quite a different direction. Their ambitions and goals were so far apart, even though they were both fighting vaguely the same aesthetic battle, at least in general. But great intellect and depth are practically on par. I would say these two are practically equal. But I decided to study and study and study Motherwell, as I have done for 20 years now. He has magic, depth and power in the palm of his hand, and he cherishes and respects the exceptional gift he has been given. De Kooning is, as I said, an equal. it’s just that Robert Motherwell speaks to me much more clearly and deeply, and it touches my heart so much more!
Robert Motherwell, Elegy to the Spanish Republic No. 60 (1960). Courtesy of Bernard Jacobson Gallery, London.
How would you describe Motherwell’s legacy in the context of painting today?
Motherwell’s legacy is simply enormous. Thousands of artists (in addition to Pierre Soulages, whom I mention in my letter), have been enormously touched and inspired by the man and his work. I see his influence all the time and everywhere. I saw it across America, but just as strongly in the East and in European countries. Once, when I was Kenneth Noland’s dealer, he said to me, “We were all thinking about Jackson’s world, but we couldn’t use it.” I now understand why Motherwell meant so much to Noland. It’s his massive brain and intellect, something that eluded everyone else in his circle. My work is almost done on Robert Motherwell. I switched to Georges Braque three years ago. But Motherwell will remain with me in a permanent position of excellence, greatness and generosity of spirit. In fact, my next book, which I hope will be out next year, is a series of short, sweet episodes set in Paris – one I’m very happy about is the man the oldest, Braque, meeting the young, Motherwell, at Deux Magots. I don’t know how these crazy ideas come to mind, but I’m so glad they do, so deep in my subconscious!
Robert Motherwell, black dead end (1983). Courtesy of Bernard Jacobson Gallery, London.
Learn more about Bernard Jacobson Gallery exhibitions on Robert Motherwell here.
Follow Artnet News on Facebook:
Want to stay one step ahead of the art world? Subscribe to our newsletter to receive breaking news, revealing interviews and incisive reviews that move the conversation forward.
