- R.B. Kitaj: A RetrospectiveBy Richard Morphet, Richard Wollheim
- Kitaj (4th Edition)By Marco Livingstone
- R.B. Kitaj: ObsessionsOur PickBy Tracy Bartley, Inka Bertz, Edward Chaney, Roman Deppner
Important Art by R.B. Kitaj
One finds in this early work the features that were to characterize Kitaj's lifelong preoccupation with the human experience and history; what one might be inclined to call a figurative-intellectualism. The title Erasmus Variations (or Desiderius Erasmus) refers by name to the Dutch scholar (Erasmus) whose absent-minded sketches, or doodles, were (re)discovered by Kitaj while visiting Oxford. Kitaj had recognized the sketches as a precursor of the automatic drawing technique that was to become a linchpin of Surrealism and one can easily recognize this automatic technique in this painting. However, Kitaj also pays homage here to another Dutchman, Willem de Kooning, who he grew to admire while staying in New York; as Kitaj put it: "de Kooning's surreal-automatic 'Women' were my favorite action paintings of the School of New York [...] and so I adapted something of that mode here; Double Dutch (Erasmus and De Kooning, both of Rotterdam)". Indeed, though de Kooning is grouped with the leading Abstract Expressionists, his paintings appealed to Kitaj because his work retained a commitment to figuration.
We find the culmination of the 'Dutch effects' in the way that Kitaj's canvas is roughly divided into nine squares in a three-by-three grid. Each grid has the rough outline of a face, save the square at the center with two faces, and the lower left square which features a bouquet of flowers. The gestural spirit of artistic freedom is revealed in the way Kitaj's vibrant color contrasts bleed across the edges of their respective boxes, in the expressive drips and smears of paint, and in the dramatic sweep of Kitaj's brushstrokes.
Created while Kitaj was still a student in England, 'The Murder of Rosa Luxemburg' is characteristic of the artist's lifelong concern with the theme of human experience and injustice, typically as it related to Jewish history. Indeed, though he considered the painting to be largely unsuccessful, Kitaj acknowledged in 1980 that "at least some of the terms of its genesis, terms which really interested me" were still in evidence some "20 years later".
As its title suggests, his collage was inspired, in part at least, by the story of Rosa Luxemburg, a Russian-Polish Jew, and founder of the anti-bourgeois Spartacus League, who was assassinated in Germany in 1919 for her revolutionary socialist politics. However, while Kitaj described this "artless painting" - when compared to vigorous color schemes he employed in paintings dating from the same period, one is immediately struck by a toneless desolation perfectly fitting, perhaps, for the grey subject matter - as his "first political picture" that was not because he specifically "identified with [Luxemburg's] revolution (or its failure)". What Kitaj called his "other, oblique reasons" related to the personal narratives of persecution as experienced by his Jewish grandmothers which had effectively brought about their flight from Europe to America. Notwithstanding Kitaj's dour color palette, formally, the image shows elements that would characterize his work throughout his career. We see for instance painted and drawn figures that take their place alongside abstract shapes and found images including the statue in the upper right and the obelisk in the lower left. Meanwhile, the collage's allusions to political history, revealed in written text telling of Luxemburg's fate, is pasted to the top right of the frame.
While Kitaj is best known for his paintings, he was also recognized for the breadth and quality of his drawings and prints. The most widely distributed of these was In Our Time: Covers for a Small Library After the Life for the Most Part, a series of 50 prints featuring covers for books selected by Kitaj. For these prints, he chose books that ranged in subject from history, to mythology, to the one pictured above for his friend, Mark Rothko. As a whole, Kitaj's portfolio elucidates the breadth of the artistic interests and motivations. Art critic Catherine Bindman of Art in Print wrote that the prints showed "his predilection...for digressive exegesis, the key to both Kitaj's ambition and the critical rage that greeted it". The screenprints speak to the artist's mastery of the graphic medium, with the covers reproduced through a veracity of both color and texture. This body of work helped consolidate Kitaj's place in art history as a painter and also as a talented draughtsman and printmaker.