Rebecca Salter, born 1955, British, K37, 1996
- Title:
- K37
- Date:
- 1996
- Materials & Techniques:
- Mixed media on canvas
- Dimensions:
- Overall: 72 × 96 inches (182.9 × 243.8 cm)
- Credit Line:
- Yale Center for British Art, Friends of British Art Fund and Gift of Jules David Prown, Yale MA (HON.) 1971, in memory of Louis I. Kahn
- Copyright Status:
- © The Artist
- Accession Number:
- B2011.8
- Classification:
- Paintings
- Collection:
- Paintings and Sculpture
- Subject Terms:
- abstract art | gray | rectangle
- Access:
- Not on view
- Link:
- https://collections.britishart.yale.edu/catalog/tms:62385
- Export:
- XML
- IIIF Manifest:
- JSON
The work of Rebecca Salter draws on a variety of artistic styles, media, and cultural traditions. Her distinctive approach was shaped primarily by the six years she spent in Kyoto, Japan, in the early 1980s, where she studied ceramics. She returned to her native London with a commitment to two-dimensional art and a particular interest in Japanese printmaking techniques and the subtle textures and surfaces of Japanese papers. In the late 1980s, however, she also began to make regular visits to the Lake District in northern England, taking inspiration from the austere landscape and ever-shifting weather conditions. Working within a tight tonal range and rarely letting one part of the canvas speak louder than any other, Salter’s paintings are nonetheless quietly compelling: a suitable match for the architecture of Louis Kahn (designer of the Yale Center for British Art), in whose memory this painting was purchased. Gallery label for installation of YCBA collection, 2020
The work of Rebecca Salter draws on a variety of artistic styles, media, and cultural traditions. Her distinctive approach was shaped primarily by the six years she spent in Kyoto, Japan, in the early 1980s, where she studied ceramics. She returned to her native London with a commitment to two-dimensional art and a particular interest in Japanese printmaking techniques and the subtle textures and surfaces of Japanese papers. In the late 1980s, however, she also began to make regular visits to the Lake District in northern England, taking inspiration from the austere landscape and ever-shifting weather conditions. Working within a tight tonal range and rarely letting one part of the canvas speak louder than any other, Salter’s paintings are nonetheless quietly compelling: a suitable match for the architecture of Louis Kahn (designer of the Yale Center for British Art), in whose memory this painting was purchased. Gallery label for installation of YCBA collection, 2016
Martina Droth, Britain in the world: Highlights from the Yale Center for British Art in honor of Amy Meyers, Yale University Press, New Haven, London, p. 160, N6761 .Y33 2019 (LC) (YCBA) [YCBA]
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