Tent-Camera Image: Lavender Field, Lioux, France
Edition of 10
Image size: 30 x 40 inches (76.2 x 101.6 cm)
Paper size: 38 x 48 inches (96.5 x 121.9 cm)
Frame size: 38 1/4 x 48 1/4 inches (97.2 x 122.6 cm)
Signed and numbered
(Inventory #34303)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 45 x 60 inches / paper: 53 x 68 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Information Request

Information Request (Inquiry)
Information Request

Information Request (Inquiry)
Edition of 10
Image size: 30 x 40 inches (76.2 x 101.6 cm)
Paper size: 38 x 48 inches (96.5 x 121.9 cm)
Frame size: 38 1/4 x 48 1/4 inches (97.2 x 122.6 cm)
Signed and numbered
(Inventory #34303)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 45 x 60 inches / paper: 53 x 68 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 30 x 40 inches (76.2 x 101.6 cm)
Paper size: 38 x 48 inches (96.5 x 121.9 cm)
Frame size: 38 1/4 x 48 1/4 inches (97.2 x 122.6 cm)
Signed and numbered
(Inventory #34303)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 45 x 60 inches / paper: 53 x 68 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 30 x 40 inches (76.2 x 101.6 cm)
Paper size: 38 x 48 inches (96.5 x 121.9 cm)
Frame size: 38 1/4 x 48 1/4 inches (97.2 x 122.6 cm)
Signed and numbered
(Inventory #34303)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 45 x 60 inches / paper: 53 x 68 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 30 x 40 inches (76.2 x 101.6 cm)
Paper size: 38 x 48 inches (96.5 x 121.9 cm)
Frame size: 38 1/4 x 48 1/4 inches (97.2 x 122.6 cm)
Signed and numbered
(Inventory #34303)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 45 x 60 inches / paper: 53 x 68 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell
Selected Works
Tent-Camera Image: Tree and Road, La Crau, France
Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34300)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Information Request

Information Request (Inquiry)
Information Request

Information Request (Inquiry)
Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34300)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34300)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34300)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34300)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34300)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34300)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell
Tent Camera Image: Olive Tree #2, St-Remy de Provence, France
Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34305)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Information Request

Information Request (Inquiry)
Information Request

Information Request (Inquiry)
Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34305)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34305)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34305)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 40 x 30 inches (101.6 x 76.2 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 1/4 x 38 1/4 inches (122.6 x 97.2 cm)
Signed and numbered
(Inventory #34305)
Also available:
Edition of 5 / image: 30 x 22 1/2 inches / paper: 34 x 26 1/2 inches
Edition of 10 / image: 60 x 45 inches / paper: 68 x 53 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell
Tent-Camera Image: View of Road, Near Arles, France
Edition of 10
Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 1/4 inches (135.3 x 173.4 cm)
Signed and numbered
(Inventory #34307)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

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Edition of 10
Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 1/4 inches (135.3 x 173.4 cm)
Signed and numbered
(Inventory #34307)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 1/4 inches (135.3 x 173.4 cm)
Signed and numbered
(Inventory #34307)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 1/4 inches (135.3 x 173.4 cm)
Signed and numbered
(Inventory #34307)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell

Edition of 10
Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 1/4 inches (135.3 x 173.4 cm)
Signed and numbered
(Inventory #34307)
Also available:
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
On the Ground: In the Footsteps of van Gogh
In June 2022, I went to Arles, Saint- Remy and other places in the south of France to make pictures where van Gogh painted. In locating myself within his landscape, I hoped that my pictures would contain – and be touched by – some of the spirit and light in his paintings. Clearly, I did not produce any new “van Goghs,” which is a good thing because I didn’t want to make copies!
Happily, what I came up with was my own take on the light and land in Provence and yet, I think, my landscapes, as different as they may be from the painter’s, still evoke something of his vision. I also believe that some of the images I made suggest the look and atmospheres captured by other 19th century French landscape painters who influenced van Gogh.
The patina and strangeness of the surface that appear in several of my images are products of a photographic tool I call “tent /camera.” I designed this device to allow me, in a periscope-like fashion, to project views of a nearby landscape directly onto the very ground where the tent sits. My camera, on top of the tent, captures a ‘visual sandwich’ comprised of the scenery and the details of the ground all at once, in one picture. And it is in this real/surreal melding of optics, photography and art history where my pictures dwell, creating, I hope a middle world – where both the expansive and the particular can reside at the same time. – Abelardo Morell
Paint #17
Edition of 5 / Image size: 22 1/2 x 30 inches / paper: 26 x 34
inches
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image/paper size: 45 x 60 inches
Signed and numbered on label on reverse
(Inventory #33905)

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Edition of 5 / Image size: 22 1/2 x 30 inches / paper: 26 x 34
inches
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image/paper size: 45 x 60 inches
Signed and numbered on label on reverse
(Inventory #33905)
Phantom in Red – After Goya
Edition of 10
Image size: 40 x 29 3/4 inches (101.6 x 75.6 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 7/8 x 39 inches (124.1 x 99.1 cm)
Signed and numbered
(Inventory #33261)
Also available in the following sizes:
Edition of 10 / Image/paper size: 60 x 45 inches
Edition of 10 / Image size: 30 x 22 1/2 inches / paper: 34 x 26 inches

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Edition of 10
Image size: 40 x 29 3/4 inches (101.6 x 75.6 cm)
Paper size: 48 x 38 inches (121.9 x 96.5 cm)
Frame size: 48 7/8 x 39 inches (124.1 x 99.1 cm)
Signed and numbered
(Inventory #33261)
Also available in the following sizes:
Edition of 10 / Image/paper size: 60 x 45 inches
Edition of 10 / Image size: 30 x 22 1/2 inches / paper: 34 x 26 inches
Tent-Camera Image on Ground: Walden Pond
Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / image: 45 x 60 inches / paper: 55 x 70 inches
Signed and numbered
(Inventory #33613)

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Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / image: 45 x 60 inches / paper: 55 x 70 inches
Signed and numbered
(Inventory #33613)

Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / image: 45 x 60 inches / paper: 55 x 70 inches
Signed and numbered
(Inventory #33613)

Edition of 5 / image: 22 1/2 x 30 inches / paper: 26 1/2 x 34 inches
Edition of 10 / image: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / image: 45 x 60 inches / paper: 55 x 70 inches
Signed and numbered
(Inventory #33613)
White Vessels. Composition #1
Edition of 10 / Image size: 30 x 40 inches / Paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / Paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered
(Inventory #31415)

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Information Request (Inquiry)

Edition of 10 / Image size: 30 x 40 inches / Paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / Paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered
(Inventory #31415)
Black Vessels. Composition #1
Edition of 10 / Image: 40 x 30 inches / paper: 48 x 38 inches
Edition of 10 / Image: 60 x 45 inches / paper: 68 x 53 inches
Edition of 5 / Image/paper size: 80 x 60 inches
Signed and numbered
(Inventory #31414)

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Information Request (Inquiry)

Edition of 10 / Image: 40 x 30 inches / paper: 48 x 38 inches
Edition of 10 / Image: 60 x 45 inches / paper: 68 x 53 inches
Edition of 5 / Image/paper size: 80 x 60 inches
Signed and numbered
(Inventory #31414)
Pieta
Edition of 5 / Image size: 22 1/2 x 30 inches / paper: 26 x 34 inches
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image/paper size: 45 x 60 inches
Signed and numbered
(Inventory #31420)

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Information Request (Inquiry)

Edition of 5 / Image size: 22 1/2 x 30 inches / paper: 26 x 34 inches
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image/paper size: 45 x 60 inches
Signed and numbered
(Inventory #31420)
Glassware Still Life #1
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered
(Inventory #31453)

Information Request

Information Request (Inquiry)

Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered
(Inventory #31453)
Glassware Vertical Still Life Against Ochre Wall
Edition of 5 / Image size: 30 x 22 1/2 inches / paper: 34 x 26 inches
Edition of 10 / Image size: 40 x 30 inches / paper: 48 x 38 inches
Edition of 10 / Image/paper size: 60 x 45 inches
Signed and numbered
(Inventory #31416)

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Information Request (Inquiry)

Edition of 5 / Image size: 30 x 22 1/2 inches / paper: 34 x 26 inches
Edition of 10 / Image size: 40 x 30 inches / paper: 48 x 38 inches
Edition of 10 / Image/paper size: 60 x 45 inches
Signed and numbered
(Inventory #31416)
Wood Chunk on Pieter Bruegel the Elder Book
Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 3/8 inches (135.3 x 173.7 cm)
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered on reverse on label
(Inventory #31454)
Exhibited March 7, 2020 – April 4, 2020 (Postponed through April due to COVID-19 pandemic)
This is the gallery’s first project with Abelardo Morell. The work presented now is a photograph of a found block of wood in front of a spread from a book with an illustration of one of Pieter Bruegel the Elder’s paintings. When looking at Morell’s photo closely, one can see the differentiation of the half-tone pattern from the illustration in strong contrast with the weathered texture of the actual wood. By presenting these different realities, together, as a photograph, Morell, as he has done for many years, combines multiple realities to give a viewer the opportunity to see equality through time and space.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received an honorary degree from Bowdoin College in 1997 and from Lesley University in 2014. His publications include a photographic illustration of Alice’s Adventures in Wonderland Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (1998) by Dutton Children’s Books, A Camera in a (2004) by Bulfinch Press and Abelardo Morell published by Phaidon Press, The Universe Next Door (2013), published by The Art Institute of Chicago, Tent-Camera (2005), (2018), published by Nazraeli Press and Flowers for Lisa (2018), published by Abrams Books. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement in fine art. His work has been collected and shown in many galleries, institutions and museums, including MoMA, NY, the Whitney Museum of American Art, the Metropolitan Art Museum in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, the Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Most recently, his work was included in the exhibition Ansel Adams in Our Time, at the Museum of Fine Arts, Boston.

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Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 3/8 inches (135.3 x 173.7 cm)
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered on reverse on label
(Inventory #31454)
Exhibited March 7, 2020 – April 4, 2020 (Postponed through April due to COVID-19 pandemic)
This is the gallery’s first project with Abelardo Morell. The work presented now is a photograph of a found block of wood in front of a spread from a book with an illustration of one of Pieter Bruegel the Elder’s paintings. When looking at Morell’s photo closely, one can see the differentiation of the half-tone pattern from the illustration in strong contrast with the weathered texture of the actual wood. By presenting these different realities, together, as a photograph, Morell, as he has done for many years, combines multiple realities to give a viewer the opportunity to see equality through time and space.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received an honorary degree from Bowdoin College in 1997 and from Lesley University in 2014. His publications include a photographic illustration of Alice’s Adventures in Wonderland Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (1998) by Dutton Children’s Books, A Camera in a (2004) by Bulfinch Press and Abelardo Morell published by Phaidon Press, The Universe Next Door (2013), published by The Art Institute of Chicago, Tent-Camera (2005), (2018), published by Nazraeli Press and Flowers for Lisa (2018), published by Abrams Books. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement in fine art. His work has been collected and shown in many galleries, institutions and museums, including MoMA, NY, the Whitney Museum of American Art, the Metropolitan Art Museum in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, the Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Most recently, his work was included in the exhibition Ansel Adams in Our Time, at the Museum of Fine Arts, Boston.

Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 3/8 inches (135.3 x 173.7 cm)
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered on reverse on label
(Inventory #31454)
Exhibited March 7, 2020 – April 4, 2020 (Postponed through April due to COVID-19 pandemic)
This is the gallery’s first project with Abelardo Morell. The work presented now is a photograph of a found block of wood in front of a spread from a book with an illustration of one of Pieter Bruegel the Elder’s paintings. When looking at Morell’s photo closely, one can see the differentiation of the half-tone pattern from the illustration in strong contrast with the weathered texture of the actual wood. By presenting these different realities, together, as a photograph, Morell, as he has done for many years, combines multiple realities to give a viewer the opportunity to see equality through time and space.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received an honorary degree from Bowdoin College in 1997 and from Lesley University in 2014. His publications include a photographic illustration of Alice’s Adventures in Wonderland Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (1998) by Dutton Children’s Books, A Camera in a (2004) by Bulfinch Press and Abelardo Morell published by Phaidon Press, The Universe Next Door (2013), published by The Art Institute of Chicago, Tent-Camera (2005), (2018), published by Nazraeli Press and Flowers for Lisa (2018), published by Abrams Books. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement in fine art. His work has been collected and shown in many galleries, institutions and museums, including MoMA, NY, the Whitney Museum of American Art, the Metropolitan Art Museum in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, the Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Most recently, his work was included in the exhibition Ansel Adams in Our Time, at the Museum of Fine Arts, Boston.

Image size: 45 x 60 inches (114.3 x 152.4 cm)
Paper size: 53 x 68 inches (134.6 x 172.7 cm)
Frame size: 53 1/4 x 68 3/8 inches (135.3 x 173.7 cm)
Edition of 10 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 10 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 5 / Image/paper size: 60 x 80 inches
Signed and numbered on reverse on label
(Inventory #31454)
Exhibited March 7, 2020 – April 4, 2020 (Postponed through April due to COVID-19 pandemic)
This is the gallery’s first project with Abelardo Morell. The work presented now is a photograph of a found block of wood in front of a spread from a book with an illustration of one of Pieter Bruegel the Elder’s paintings. When looking at Morell’s photo closely, one can see the differentiation of the half-tone pattern from the illustration in strong contrast with the weathered texture of the actual wood. By presenting these different realities, together, as a photograph, Morell, as he has done for many years, combines multiple realities to give a viewer the opportunity to see equality through time and space.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received an honorary degree from Bowdoin College in 1997 and from Lesley University in 2014. His publications include a photographic illustration of Alice’s Adventures in Wonderland Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (1998) by Dutton Children’s Books, A Camera in a (2004) by Bulfinch Press and Abelardo Morell published by Phaidon Press, The Universe Next Door (2013), published by The Art Institute of Chicago, Tent-Camera (2005), (2018), published by Nazraeli Press and Flowers for Lisa (2018), published by Abrams Books. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement in fine art. His work has been collected and shown in many galleries, institutions and museums, including MoMA, NY, the Whitney Museum of American Art, the Metropolitan Art Museum in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, the Museum of Fine Arts, Boston, the Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Most recently, his work was included in the exhibition Ansel Adams in Our Time, at the Museum of Fine Arts, Boston.
Tent-Camera Image on Ground: View of Jordan Pond and the Bubble Mountains, Acadia National Park, Maine, March
Edition of 10 / Image size: 22 1/2 x 30 inches / paper: 26 x 34 inches
Edition of 8 / Image size: 30 x 40 inches / paper: 38 x 48 inches
Edition of 6 / Image size: 45 x 60 inches / paper: 53 x 68 inches
Edition of 3 / Image/paper size: 60 x 80 inches
Signed and numbered
(Inventory #31434)

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