Riviera

1971-1974

British, 1924 - 2013

One of the greatest British sculptors of the 20th century, Anthony Caro was among the first artists to explore the language of abstraction in large-scale sculpture. Riviera is choreographed with an extended series of irregular forms, and unfolds laterally, like a landscape. The rhythmic vertical and horizontal structure retains a strongly architectural character, and because it is constructed of parts, Riviera appeals to the eye as an object meant to be experienced over time, rather than absorbed in a single look.

Steel rusted and varnished

10 ft. 7 in. x 27 ft. x 10 ft.

Gift of the Virginia and Bagley Wright Collection, in honor of the 75th Anniversary of the Seattle Art Museum

2014.25.9

Provenance: [Leo Castelli, New York, New York]; purchased from gallery by Virginia and Bagley Wright, Seattle, Washington, 1976

Photo: Paul Macapia

Not currently on view

“

I have been trying to eliminate references and make truly abstract sculpture, composing the parts of the pieces like notes in music.

”

Anthony Caro

Resources

Exhibition HistoryNew York, New York, Museum of Modern Art, Anthony Caro, Apr. 30 - July 6, 1975 (Minneapolis, Minnesota, Walker Art Center, Sept. 14 - Nov. 2, 1975; Houston, Texas, Museum of Fine Arts, Dec. 11 - Feb. 1, 1976; did not travel to Boston, Museum of Fine Arts). Text by William Rubin, reproduced p. 165.

Published ReferencesArnason, H. Harvard. History of Modern Art: Painting, Sculpture, Architecture. Englewood Cliffs, New Jersey: Prentice-Hall, 1977; reproduced pl. 653.

Patton, Phil. “Unpublic Sculpture.” ARTnews, April 1984; pp. 82 - 87.

Fairbrother, Trevor. The Virginia and Bagley Wright Collection. Seattle: Seattle Art Museum in association with University of Washington Press, 1999; p. 199, reproduced on endsheet [not in exhibition].

Corrin, Lisa Graziose et al. Olympic Sculpture Park. Seattle: Seattle Art Museum, 2007, reproduced pp. 48-49.

Brummel, Kenneth, et al. Anthony Caro: Sculpture Laid Bare. Exh. Cat. Ontario: Art Gallery of Ontario, 2017; p.14 [not in exhibition].