Additional Images

Provenance:

Acquired directly from the artist in 1963 by Robert Elkon Gallery, New York, NY
Collection of Mr. Elkon Sr., New York, NY
Private Collection
Hindman Auctions, Chicago, IL, 19 Apr 2023, lot 10
Private Collection, California

Literature:

Jack Bush: New Paintings, (exh. cat.) (New York: Robert Elkon Gallery, 1963) p. 348, no. 3.
Sarah Stanners, Jack Bush Paintings: A Catalogue Raisonné (Toronto: David Mirvish Books in partnership with Coach House Press, 2024), 364–365 (col. illus.), Vol. 2, cat. no. 2.17.1962.31.

Exhibited:

Jack Bush: New Paintings, Robert Elkon Gallery, New York, NY, 1963.

Note:

Jack Bush painted Green Diamond over a concentrated yet reflective three-month period, beginning in December 1962 and concluding in February 1963. Although he inscribed “Feb 1963” on the back of the canvas, his studio record book lists the work as “painted Dec 1962” and includes a small thumbnail sketch. Bush’s paintings often emerged from an initial burst of inspiration, only to undergo a period of quiet refinement before reaching their final form. Given that Green Diamond was included in his April 1963 solo exhibition, Jack Bush: New Paintings, at the Robert Elkon Gallery on Madison Avenue in New York, it is reasonable to conclude that Bush revisited and perfected the composition in February with the upcoming show firmly in mind. Allowing a painting to “simmer” was characteristic of his practice, as demonstrated in paintings like Green Diamond which strike a balance between vitality and control.

The Elkon exhibition was notably selective, featuring only ten paintings. Within such a tightly curated group, Green Diamond stands out as a particularly choice example of Bush’s recent production. Its significance is underscored by the involvement of Clement Greenberg, one of the most influential art critics of the twentieth century, who participated directly in the exhibition’s installation. Alongside fellow Color Field painter Kenneth Noland, Greenberg helped determine the placement and presentation of the paintings. Bush himself acknowledged their expertise in a letter to Noland written shortly after the opening: “Many thanks for your interest and help hanging my show last week. I trust Clem's judgment, and yours, much more than my own. Somehow you guys have a knack of placing the pictures so that they come out with their full impact.” (Letter from Jack Bush to Kenneth Noland [Easter Sunday, 1963], Kenneth Noland Foundation archives).

A photograph of Green Diamond as it appeared in the exhibition confirms the rigour of this approach. The installation is spare and direct, devoid of ornamentation, allowing the painting’s formal qualities to assert themselves without distraction. The emphasis is on pure visual experience: bold colour, and the tension between shapes. This aesthetic aligns with the broader aims of postwar abstraction, particularly the Color Field movement, which sought to distill painting to its most essential elements.

The painting’s early acquisition further attests to its prominence. It was purchased by Robert Elkon Sr., the father of the gallery owner. Given this close familial connection, it is plausible that Green Diamond was among the first works selected from the exhibition; first pick is a privilege typically reserved for discerning and well-positioned collectors. Such a purchase suggests not only confidence in the painting’s quality but also an immediate recognition of its significance within Bush’s evolving oeuvre.

Green Diamond also belongs to a distinct group of smaller works that Bush began in December 1962. These paintings—among them Red Hot, England Green, Festive, Green Square, and Gem—share a restrained palette of three colours: red, green, and blue. Each composition features flat shapes deftly set against contrasting grounds. While generally similar, in terms of abstract style, these paintings mark a departure from Bush’s slightly earlier Flag series, which include expansive fields of colour punctuated by curious shapes or abstract emblems evocative of the countries they were inspired by. The December 1962 works are not diminished versions of those much larger canvases but rather explorations of a similar impact but in a more potent, single dose. While modest in scale (none exceeding 36 inches on any side), these works possess a striking intensity. Within this group, Green Diamond is the largest, and arguably the most commanding, demonstrating how Bush could achieve a sense of monumentality even within limited dimensions.

Importantly, this period of experimentation coincided with the holiday season. Throughout his career, Bush revelled in his time off. During Easter, Christmas and his summer vacation, he explored new ideas and painted prolifically. The catalogue raisonné of his work shows a pattern: paintings created during these periods tend to be smaller, more playful, and occasionally more daring. In this context, Green Diamond can be understood as the product of a moment of artistic freedom, when Bush allowed intuition to guide him. Liberty is sustenance for most artists and Green Diamond was the gem he produced under no pressure.

Contributed by Dr. Sarah Stanners, art historian and recently appointed Executive Director & Chief Curator of the Canadian Clay & Glass Gallery. Dr. Stanners dedicated 13 years to the recently published Jack Bush Catalogue Raisonné as both author and director.

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