Objective Abstraction c. 1935 - 1936

Editor: Here we have Rodrigo Moynihan’s "Objective Abstraction," date unknown, from the Tate collection. It’s a lovely, muted piece. It feels very dreamlike to me, ephemeral even. What do you see in this piece? Curator: Oh, I love that description! "Dreamlike" perfectly captures its essence. For me, it’s like looking into a memory, a half-remembered scene. Do you notice how the colors almost blend into one another, creating a sense of… fleetingness? It feels both fragile and powerful. Editor: Yes, now that you mention it, I can see that. It’s like he's trying to capture something that is constantly shifting. I’m intrigued by the title, though: "Objective Abstraction." Is that an oxymoron? Curator: Aha! Exactly. Perhaps Moynihan is suggesting that even in abstraction, there's an attempt to grasp at something real, something objective. It's the paradox of trying to paint pure feeling, isn't it? Editor: I think I understand. Thanks for pointing that out. I’ll definitely be thinking about this piece differently now.