Beside the Sea No. 15 1962

Curator: Robert Motherwell’s "Beside the Sea No. 15," realized in 1962 using acrylic paint, presents a compelling study in abstract form. Editor: It feels... like a captured summer memory. A carefree day by the ocean distilled down to its rawest, most joyful essence. Did he paint this outside? Curator: Motherwell, aligned with the Abstract Expressionist movement, frequently explored the interplay between chance and control. Note the carefully placed green field grounding a dense ochre band. At the top of the painting, these layers give way to an almost violently expressive gesture of cobalt blue. Editor: Exactly! The energy in that top section is incredible. That single splash—is it supposed to be the sea crashing, or maybe a thought bursting out? I love how raw it feels, almost primal. It’s balanced with these structured horizontal shapes which you called 'ochre'... how does it all hold together? Curator: Indeed, the contrasting horizontal lines function as a counterpoint to the explosive energy of the blue, and serve a structural role within the canvas's design. Furthermore, these solid chromatic rectangles draw the viewer into considering the tension between order and chaos—central themes of the post-war period and deeply reflective of the artistic intentions of this key work of American abstraction. Editor: So, he’s controlling the chaos with solid bands and… that explosive feeling, do you think it mirrors inner emotional chaos? Maybe a personal tempest held at bay? Because art does that you know… show our real lives. Curator: Such considerations offer avenues into interpretations. It does engage dialectical considerations, as it can equally represent the act of creating or a dialogue within Motherwell. It gives voice to the aesthetic tenets. Editor: I’m leaving here wondering about Motherwell now. And I see a memory of pure joy in these shapes and colours—the heart of a sunny day made visible!