12 Views for Caroline Tatyana
Not on view
In 12 Views for Caroline Tatyana, Marden employs the serial format and simplified geometric structures of Minimalist art, while also making reference to Classical post-and-lintel architecture. Inspired by ancient temples and other archeological structures, Marden sought to capture the sensation of viewing their columnar facades, as well as the diverse ways in which individual architectural units work in harmony to create the impression of a unified and balanced whole. The divided plane of the prints operates in tandem with the term "views" to connote openings, such as the spaces between columns, doorways, and windows. A palette of mostly black and white tones conveys the experience of visiting such sites: extreme contrasts between light and shade, interior and exterior, solidity and void, and density and weightlessness, to name only a few sensations. Within the suite, which was named for Marden’s goddaughter, the repetition of forms—seven vertical columns with a single horizontal element positioned above like an architrave—and the mirroring of structures create a sense of unity and equilibrium.
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![Lucian Freud, (British [born Germany], 1922–2011). Ill in Paris, 1948. Etching; plate: 5 1/8 x 7 in. (13 x 17.8 cm), sheet: 10 3/4 x 13 in (27.3 x 33 cm), The Metropolitan Museum of Art, New York, Bequest of William S. Lieberman (2005 2007.49.613)](https://www.metmuseum.org/-/media/images/blogs/now-at-the-met/2015/2015_08/existentialism-and-abstraction/ill-in-paris.jpg?sc_lang=en&hash=F66131CF3C5C6811A70F9DD049B1282F)
