Pure Myth 1949

Editor: Perle Fine’s "Pure Myth," painted in 1949 using acrylic on canvas, is visually striking. The composition is a flurry of geometric and biomorphic shapes dancing across a vivid red background. It has a playful yet chaotic mood that makes me curious. What do you make of its composition? Curator: The spatial arrangement in "Pure Myth" suggests a dynamic interplay between foreground and background. Consider the way Fine utilizes the vertical yellow lines; these act less as a grounding element and more as a structural counterpoint to the amorphous forms. It begs the question of how she intended to fracture the pictorial plane. Editor: The fractured pictorial plane makes the shapes feel untethered. I also notice that the colors, although bold, seem carefully balanced. Does this chromatic equilibrium relate to Abstract Expressionist theory? Curator: Indeed, the color palette reinforces the spatial ambiguity. Observe the juxtaposition of the cool blues against the warm reds, as well as earthier hues of browns and yellows: this creates visual tension and depth. In regards to theory, reflect on what this distribution of shapes does and does not tell you about how Fine approached the picture plane. Editor: You’ve really highlighted how the formal qualities work together to create the overall effect. The chromatic equilibrium contributes to a dynamic push-and-pull within the composition. Curator: Precisely. The essence lies in the autonomous existence of each pictorial element and its calculated relational effect on others. A successful abstraction does not aim for representation, but rather for an internal, self-sustaining visual order. Editor: So, the narrative of the artwork arises from these relational forms instead of the artwork referencing outside concepts. This makes more sense, and I'll have to come back for a second look!