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American
(1913–2009)
Feria
1965
Acrylic on canvas
72 x 50.75 x 2.25 in.
Gift of the Marie Eccles Caine Foundation
2008.13
In Ancient Rome, the feria was a day when slaves were excused from their duties; later, Roman Catholics used the term for periods of rest between rites of worship. The notion of a free day, cordoned off from obligations, is apropos of Mary Henry’s exhilarating painting Feria, which conveys the metaphorical freedom that can flourish even within rigid confines. At first glance, the painting seems to be a fastidious, straightforward grid of 840 multicolored squares and thirty-five aubergine rectangles upon a white background. On closer examination, the black, red, and sun flower-yellow squares, far from being randomized, betray the undergirding that unites them: diamond shapes and curvilinear forms snaking through the picture plane like vivid stitches just beneath a quilt’s woven top. With masterful illusionism, Henry embeds a suggestion of gestural abandon within a superstructure of rectilinear abstraction.
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