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Red Petals is an acrylic on canvas by Sam Gilliam, dating to 1967. The work measures 88 x 93 in (223.5 x 236.5 cm) and is mounted on a bevelled-edge stretcher. It arrived at its first museum exhibition in 1967 at The Phillips Collection.
The canvas holds a heavy presence. It is a large, physical object that occupies the space with a quiet, weighted gravity. The red pigment settles into the fibers, marking a moment when the artist first moved away from the rigid lines of masking tape. It is a study of color meeting cloth.
Cadmium red and bright coral explode across the surface. These hot tones do not remain contained by hard lines. Instead, the red bleeds into a deep violet-black, green, yellow, and cobalt blue. The colors meet and merge through soft, bleeding edges. There is no masking tape to define the boundaries here.
The composition rejects the rigid logic of geometry. Instead, the eye follows biomorphic forms that suggest organic life. These shapes emerge from the interaction of pigment and gravity. The palette shifts from the intensity of the red to the quietude of cobalt and green. It is a study of light and weight.
Color acts as the primary structure. The interplay between the dark violet-black and the luminous coral creates a sense of depth without the need for perspective. The pigments settle into the fibers of the canvas. A quiet pulse remains in the way the hues collide.
The canvas is unprimed and unstretched, a raw surface waiting for the weight of pigment. Gilliam poured paint directly onto the fabric, allowing the liquid to find its own path. He folded the canvas onto itself and suspended it, letting the colors bleed and settle overnight. Gravity becomes a silent collaborator in this process.
The physical handling of the material is aggressive and rhythmic. The artist used sponging, daubing, and splattering to build layers of cadmium red and bright coral. He rolled and folded the cloth, eventually restretching the canvas onto a bevelled-edge stretcher. The edges are not defined by masking tape, allowing the violet-black and cobalt blue to pulse against the red.
The work exists as a tension between the liquid and the solid. It is a record of movement caught in acrylic. The paint has been sponged and daubed until the texture mimics the organic irregularities of a petal.
The creation of Red Petals functions as a delicate negotiation between intention and surrender. Gilliam described the method as a sort of accident, a rhythmic movement where he maintained control over certain layers of pigment while yielding to the unpredictable forces of gravity. It is a study in the tension between the hand and the void. The artist poured paint onto unprimed, unstretched canvas, allowing the liquid to settle overnight as the fabric was folded upon itself.
This early example of his unique process relies on a balance between improvisation and discipline. There is a specific, controlled violence in the way the canvas was later sponged, daubed, splattered, and rolled. Each gesture responds to the previous one, creating a dialogue between the artist's physical actions and the natural behavior of the medium. The resulting composition is a record of this struggle, capturing the exact moment where chance meets command.
The work exists as a physical manifestation of a jazz-inspired approach to abstraction. It avoids the rigid boundaries of masking tape, allowing colors to bleed and pulse into one another. In this space, the canvas is no longer a passive support but an active participant in the unfolding of the form. The paint finds its own way through the folds.
The canvas breathes through its own lack of restraint. In this work, the edges lose their rigid boundaries, refusing the containment of masking tape. Color bleeds into color, a soft collision of cadmium red and cobalt blue that rejects the sharp geometry of the era. It marks a departure from the controlled lines of the Washington Color School, opting instead for a fluid, unprimed surface that allows the pigment to settle where gravity dictates.
This piece signaled a shift in how the medium is perceived, treating the fabric as a living participant rather than a mere support. By using unstretched canvas, the work moved toward a sculptural presence, a precursor to the draped forms that would later define a career. It was the first painting of its kind to be acquired by The Phillips Collection, securing its place within a permanent dialogue of abstraction. It remains a primary example of the Color Field movement, where the weight of the paint meets the lightness of the cloth.
The red pigment of this work resides within the permanent collection of The Phillips Collection. It remains anchored in Washington, D.C., held within the walls of a museum that shares a special relationship with Sam Gilliam. This site became the home for his first museum exhibition in 1967, marking a significant moment in his career.
Visitors may find this specific canvas alongside other traces of his hand. The museum holds a dozen of his paintings and works on paper, creating a quiet dialogue between his various experiments with color and cloth. The space preserves the tension between the controlled and the accidental that defines his practice.
Statistikker for "Red Petals" af Sam Gilliam findes på værkets Besøgsstatistik-side: månedlige besøg på værket, besøg på kunstnerens øvrige værker samt en opdeling af de seneste besøgende efter land og sprog.
"Red Petals" blev skabt i 1967 som en del af Color Field Abstraction-bevægelsen.
"Red Petals" af Sam Gilliam har en Vivid farveintensitet.
1933 - 2022 , USA
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