In this all-over composition, faceted planes of color fan out across the canvas. The primary colors mix with shades of orange, violet, and pink. But unlike Study for Synchromy in Blue-Violet, 1912/13 (VF2015.05.09) and A Synchromy 1913/14 (VF2015.05.12), the colors do not bleed or blend; each form is a contained block of color. There is no subject or object, no foreground or background; color is the form and the content.
Morgan Russell and Stanton Macdonald-Wright founded Synchromism (which means “with color”), a movement in which color becomes an independent expressive and formal element, in 1912 and held their first exhibitions in Munich and Paris the following year.
[Rose Fried Gallery, New York];
Mr. and Mrs. John D. Schiff, New York, by 1967;
[Davis & Long Company, New York];
The Ertegun Collection Group, New York;
[Terry Dintenfass, Inc., New York];
The Michael Scharf Family Collection, 1986-2019;
[Christie’s New York, May 22, 2019, sale no. 17034, lot 23]
New York. M. Knoedler & Co., Inc., New York. Synchromism and Color Principles in American Painting, 1910-1930, October 12-November 6, 1965, p. 52, no. 47.
New York. Museum of Modern Art. Synchromism and Color Principles in Related American Painting, 1910-1930, January 1967-June 1968.
New York. Whitney Museum of American Art; Houston, Texas. Museum of Fine Arts; Des Moines, Iowa. Des Moines Art Center; San Francisco, California. San Francisco Museum of Modern Art; Syracuse, New York. Everson Museum of Art; Columbus, Ohio. Columbus Gallery of Fine Arts, Synchromism and American Color Abstraction, 1910-1925, January 24, 1978-March 24, 1979, p. 143, pl. 91, illustrated.