Who painted Untitled?

Untitled was painted by Thomas Sills in 1960.

Where can I see Untitled?

Untitled is held by Museum of Modern Art.

What movement is Untitled?

Untitled is associated with Abstract Expressionism.

Artwork

Untitled

Thomas Sills , 1960

Untitled is an oil painting by the Abstract Expressionist artist Thomas Sills. It dates from 1960 and is held in the collection of the Museum of Modern Art.

About this work

Overview

Created in 1960, this untitled work by Thomas Sills is an oil painting on canvas in the collection of the Museum of Modern Art. The composition is wholly abstract, built around a vivid orange field that serves as a backdrop for a series of irregular green forms. The overall visual impact is one of lively contrast and spatial tension.

Subject & Meaning

The painting does not depict recognizable objects; instead, it explores the interaction of color and shape. The green elements, positioned as if they were cut from another surface and laid onto the orange ground, suggest a dialogue between foreground and background, inviting viewers to consider notions of layering, separation, and the floating quality of forms within a pictorial space.

Technique & Style

Sills employed oil pigment to achieve a saturated orange base, then applied the green shapes with varied brushwork that ranges from smooth, flat areas to heavily impastoed, textured surfaces. The edges of the forms are intentionally rough, enhancing the sense of materiality and giving the illusion that the shapes are three‑dimensional objects adhered to the canvas.

History & Provenance

The work entered the Museum of Modern Art’s holdings after its creation, though the exact acquisition date is not specified in the source material. It remains part of MoMA’s permanent collection, where it is displayed alongside other mid‑century abstract paintings, reflecting the institution’s commitment to preserving post‑war American abstraction.

Context

Sills was active during a period when abstract expressionism and color field painting were prominent in the United States. This piece, with its bold chromatic contrast and emphasis on surface texture, aligns with the era’s interest in non‑representational forms that prioritize emotional resonance over narrative content.