Ralph Rosenborg Painting Landscape of the Northwest: Trees 1965

Ralph Rosenborg (1913–1992) Landscape of the Northwest: Trees, 1965 Oil on canvas · 36 × 30 in (91 × 76 cm) Signed and dated lower right: Rosenborg 1965 White painted wood float frame

There is a world inside this painting that resists easy entry — and that is precisely the point. Landscape of the Northwest: Trees is a late-career work by Ralph Rosenborg, one of the foundational figures of American Abstract Expressionism and a painter whose relationship with the natural world was lifelong, intensely personal, and unlike anyone else working in his circle.

Rosenborg was a colleague of the New York Abstract Expressionists in the 1940s and 1950s, and while he moved freely in that world — sharing a guard post at the Museum of Non-Objective Painting with Jackson Pollock, participating in the landmark Studio 35 discussions alongside de Kooning, Gottlieb, and Motherwell — he went his own way. He preferred small, intimate works, and tended to draw explicitly upon natural forms rather than the gestural abstraction or geometric reduction that defined so many of his peers. Nature was his perennial motif throughout his life. WikipediaSmithsonian American Art Museum

Landscape of the Northwest: Trees is a prime example of why. Painted in 1965 — the year before a National Council of the Arts award took him to Europe — the canvas depicts what appears to be a dense, atmospheric stand of trees rendered in Rosenborg's deeply individual manner: dark, layered, and mysteriously lit. The composition is governed by a near-black field of deep navy and charcoal, from which forms emerge and recede in a way that feels less observed than remembered, or dreamed. A central luminous form — blue-grey, built up in heavy impasto — rises from the lower register of the canvas like a shaft of filtered light through a forest canopy. Above it, a single charged stroke of pure vermillion red sits like an ember in the dark. Caldwellgallery

Rosenborg used an assortment of small palette knives to spread paint in buttery slabs, leaving thin edges that catch the light; occasionally he scooped out hollows or cut incised lines within the thick pigment. As a counterpoint, he took up the brush to run paint on top of and within thin glazes, dappling the surface with touches of color or creating delicate linear marks of a barely discernible quality. Every one of those techniques is present here. The close-up photographs reveal the full topographic complexity of the surface: passages of thick, ridged impasto give way to thin, almost translucent glazes; small flashes of green, rust, and deep wine emerge from beneath the dominant field like buried light; the canvas texture shows through in places, giving the darkest passages a roughness that reads as bark, as shadow, as depth. Ralphrosenborg

Rosenborg frequently drew an arrow in a rectangular box on the back of his paintings — originally a Mayan motif, the arrow signified that he would strive to always go up, aesthetically and spiritually. "The painting is another world," he wrote. Landscape of the Northwest: Trees belongs to that other world entirely. Smithsonian American Art Museum

The painting is signed and dated in the lower right — Rosenborg 1965 — in Rosenborg's characteristic small, careful script, clearly visible in the photographs. It is housed in its original white painted wood float frame, which suits the work's spare drama without competing with it.

Rosenborg's work is held in the permanent collections of the Solomon R. Guggenheim Museum, Yale University Art Gallery, the Whitney Museum of American Art, the Brooklyn Museum, the Smithsonian American Art Museum, the Seattle Art Museum, the Newark Museum of Art, and the Butler Institute of American Art, among many others. He is represented in Abstract and Surrealist Art in America by Sidney Janis (1944) and Modern Artists in America (1952), and his career was the subject of a major critical essay by Martica Sawin in Arts Magazine in 1960. Ralphrosenborg

A signed, dated, and documented oil on canvas by one of the genuine pioneers of American abstract art — and a painting that rewards looking. This is a work for someone who understands that the best paintings never fully reveal themselves.

Medium: Oil on canvas Dimensions: 30 W × 36 H in (91 × 76 cm), without frame, with frame approximately 38 W × 44 H in

Signature: Signed and dated lower right, Rosenborg 1965

Condition: Very good; canvas structurally sound with rich surface patina consistent with age; frame shows period wear

Provenance: Private collection

Dimensions
38 W x 44 H with frame
30 W x 36 H (just painting)