Identification of Necromancer by Philip Taaffe
The canvas known as Necromancer emerges from the creative mind of Philip Taaffe. This work, which carries the weight of its title through its complex layers, was brought into being during the period of 1989/1990. It exists as a singular expression of the artist's vision, capturing a specific moment in the evolution of his practice.
Philip Taaffe is an American artist whose origins trace back to Elizabeth, New Jersey. Born in 1955, he carries a perspective shaped by his roots and his subsequent movements through the art world. In Necromancer, his hand moves with a deliberate intent, leaving behind a visual language that speaks of both the organic and the structured.
As we encounter this piece, we see the direct result of Taaffe's engagement with his materials. The work stands as a physical presence, a tangible piece of history from the turn of the decade. It remains a significant part of the artist's ongoing dialogue with form and space.
Composition and Visual Elements
A deep blue background holds the space, acting as a silent stage for a dance of shapes and designs. Scattered across this azure expanse, several mushrooms emerge from the shadows. In the top left corner, a few fungi cluster together, while others drift toward the middle and settle in the bottom right areas. These organic forms break the stillness, appearing as if they have just sprouted within the frame.
At the heart of the work, a star-like shape radiates from the center. It sits amidst an intricate pattern of other shapes that swirl and intersect. This central light source anchors the composition, pulling the eye into a rhythmic movement between the natural and the structured. The arrangement creates a tension between the soft, irregular curves of the mushrooms and the rigid precision of geometric patterns. This interplay of organic life and mathematical order defines the visual energy of the piece.
Materials and Physical Dimensions
The surface of this work breathes through a complex layering of mixed media. Acrylic paint meets the tactile presence of cut-and-pasted paper, both applied onto a canvas foundation. This combination of materials creates a physical depth where colors and shapes do not merely sit upon the surface but seem to emerge from within it. The interplay between the fluid nature of the pigment and the sharp, deliberate edges of the paper fragments builds a textured landscape that invites a closer look at its structural layers.
Measuring 1746 x 2270 mm, the piece possesses a commanding physical presence. Its scale, approximately 174 x 227 cm, allows the intricate patterns and organic forms to unfold across a wide field of vision. The sheer size of the canvas ensures that the viewer is fully enveloped by the rhythmic arrangement of its geometric and organic elements.
Provenance and Museum Collection
The presence of this work within the Museum of Modern Art marks its place in a significant institutional lineage. It resides within the permanent collection, held under the specific designation 374.1991. This placement ensures the piece remains part of a continuous dialogue within the museum's holdings, preserved for those who walk its halls.
The survival and stewardship of the canvas are made possible through the dedicated support of several vital funds. The Bernhill Fund provides a foundation for its continued existence. Alongside this, the Gerald S. Elliott Fund and the Barbara Jakobson Fund offer their essential backing, ensuring the work remains a part of the museum's living history. These contributions act as the quiet guardians of the piece, allowing it to remain accessible to the public eye.
Related Works by Philip Taaffe
The creative pulse that drives the patterns in this piece continues to beat through other canvases from the same era. In 1990, the artist produced Lineament (for Parkett no. 26), a work that shares the same temporal space as Parkett no. 26. These pieces emerge from a period of intense structural exploration, where shapes and rhythms begin to find their footing. The energy of the early nineties flows directly into the compositions of this time.
As the years progress, the visual language shifts and evolves. By 1992, the work Chocolate Creams and Dollars appears, offering a different way to navigate the intersection of form and color. The exploration does not cease, moving forward into 1994 with The Magic Magic Book. Each of these works exists as a distinct moment in a continuous, unfolding process of layering and discovery.
