Where the Railroad Leaves the Sea 1964

R. B. Kitaj made this painting with a palette of warm yellows, reds, and pinks, punctuated by cooler blues and greens, resulting in a semi-abstract scene. I wonder what Kitaj was thinking about when he made this. It’s like he’s wrestling with figuration and abstraction, pulling them together. It’s like he's conjuring a memory or a dream, something half-seen, half-felt. The kiss becomes a focal point, a moment of intimacy amidst the geometric forms. The grid above, like a railroad track, suggests movement, journeys, and maybe even escape. I find myself looking at the way Kitaj lays down the paint. It is not too thick, not too thin, but just right to convey a sense of immediacy. And the table! That golden plane anchors the whole composition, doesn’t it? I think of other painters, like Bonnard, who use color and form to evoke a mood, a feeling. There's a conversation happening across time, across canvases, you know?