Blue/Black/Red/Green, 2001 by Ellsworth Kelly
- Untitled Art Gallery
- Jan 21, 2022
- 3 min read
Updated: Nov 16
Blue/Black/Red/Green, 2001; Lithograph on Lanaquarelle 640 gram paper; Numbered 26/45 and signed Kelly in pencil lower right; Published by Gemini G.E.L., Los Angeles; Publisher's blind stamp lower right; Catalog Raisonne: Axsom 293; Size - Sheet 25 x 88 3/4", Frame 29 x 93"; Framed with a white wood frame floated on an acid free white mat, and plexiglass.
"I have worked to free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it; so that it has a clarity and a measure within itself of its parts (angles, curves, edges, and mass); and so that, with color and tonality, the shape finds its own space and always demands its freedom and separateness." - Ellsworth Kelly
Ellsworth Kelly was an American painter, sculptor, and printmaker whose pioneering work played a central role in Hard-Edge painting, Color Field, and Minimalism. Widely recognized as one of the most influential artists of the twentieth century, Kelly’s work is held in the permanent collections of the world’s leading museums and continues to inspire generations of artists and collectors alike.
Although often associated with Minimalism, Kelly did not consider himself a minimalist. Rather, he described himself as a “figure to ground” and “color interaction” painter, emphasizing the dynamic interplay between form and color in his compositions. Unlike contemporaries such as Ad Reinhardt, Josef Albers, or Barnett Newman, whose forms were often entirely abstract or systematic, Kelly derived much of his visual vocabulary from the natural and built environment. Photographs taken by Kelly in France as early as 1949 document his keen observation of light and shadow across Parisian architecture. These images became references for his paintings, with shadows and small sections of trees, buildings, or other surfaces abstracted into regular or irregular geometric shapes. By isolating and simplifying these forms, Kelly could focus on their inherent visual rhythm, and through careful color selection, he heightened the perceptual tension and harmony between adjacent forms.
Blue/Black/Red/Green (2001) exemplifies Kelly’s mastery of color interaction and figure-to-ground relationships. In this work, each of the four colors is meticulously chosen for its value and interaction with the surrounding forms. Kelly carefully considers orientation, scale, size, and shape, demonstrating that even slight modifications to these parameters can dramatically alter the viewer’s perception. For example, reversing the composition—placing green on the left and blue on the right—would fundamentally change the visual dialogue between the colors. Similarly, the effect shifts depending on which colors are adjacent: blue next to black produces a markedly different interaction than blue next to green.
The composition also engages the figure-ground relationship: the colored forms (blue, black, red, and green) appear to float above the white paper, creating a subtle illusion of depth. While the shapes themselves are abstract, their slight rotation along multiple axes gives the work dimensionality and movement. The forms convey a sense of calm dynamism, inviting the viewer to experience both a visual and emotional resonance. Kelly’s work demonstrates that a subject does not require literal representation; the subject can be a mood, an emotional state, or a perceptual response elicited by the precise arrangement of form and color.
Blue/Black/Red/Green (2001) stands as a large and exceptional example of Kelly’s late-career vision, showcasing his ability to combine simplicity and sophistication in a way that is both visually striking and intellectually engaging. Its elegant composition and masterful use of color make it a powerful addition to any modern fine art collection, offering viewers a contemplative and immersive experience of one of the twentieth century’s most influential artists.
