Cite

The Composition of Cité

The artwork Cité consists of twenty joined panels of wood. The surface features a grid-like arrangement of rectangular shapes in black and off-white. These rectangles interlock and overlap across the wooden support. Some shapes are oriented horizontally, while others are positioned vertically. The edges of these forms are defined by straight, precise lines. The color palette is restricted to two tones: a deep black and an off-white that appears as a light beige in certain lights. There is no discernible three-dimensional illusion or perspective within the work; the surface remains flat. Subtle variations in the off-white hue suggest differences in paint application or the aging of the material. The arrangement of the shapes creates a rhythmic pattern through the repetition of geometric forms.

Process and Method

The creation of this piece involved a specific method of chance and preparation. A preparatory sketch was executed by transferring brushstrokes onto paper. This paper was then divided into twenty individual squares. These squares were shuffled randomly before being adhered to the wooden board. This technique allowed for a composition determined by random movement rather than traditional structural planning. The work reflects an interest in the principles of minimalism, reducing the visual field to essential geometric components. The use of black and off-white creates a high level of tonal contrast. The physical structure of the twenty panels contributes to the overall texture of the piece, as the edges where the wood meets create slight interruptions in the flat plane.

Historical Context and Influence

Completed in 1951, Cité emerged from a period of transition for the artist. The concept originated from a dream experienced while staying at the Cité Universitaire in Paris. This vision led to the idea of a large-scale work composed of square panels featuring black bands. The artist's earlier experiences with camouflage during military service in the 603rd Engineers Camouflage Battalion provided a foundation in spatial manipulation and visual deception. During his time in Paris, exposure to the works of artists such as Jean Arp influenced the move toward simplified forms. The piece aligns with the development of hard-edge painting and geometric abstraction. It utilizes a method that mirrors the experimental approaches found in the work of John Cage during this era.