Solution de Continuité #2 (Continuity Solution #2)

Hisao Domoto, Japanese, 1928 - 2013



Acrylic on canvas

Canvas: 30 3/16 × 40 3/16 in. (76.6 × 102 cm)

Frame: 18 1/2 × 64 1/2 in. (47 × 163.8 cm)

Frame: 30 7/8 × 40 7/8 in. (78.4 × 103.8 cm)

Hood Museum of Art, Dartmouth: Purchased through the Evelyn A. and William B. Jaffe Fund



Place Made: Japan, East Asia, Asia


20th century

Object Name


Research Area


Not on view


Signed, lower right, in black ink: DOMOTO 66.; Signed, on reverse of canvas, upper left, in ink: DOMOTO 1966


Opposing forces of yin and yang are always present in my work. --Hisao Domoto

Consider the strong contrast of this painting. The artist sets two planes in tension—the foreground and the background. How far can we take this clash metaphorically? Domoto self-associated with artist groups such as Gutai (Japan), L’Art Informel (France), and Abstract Expressionism (United States). As such, it is safe to assume that his interest in placing the mathematical order of the clean circles under the lushly applied brushstrokes in the foreground was meant to emphasize the realm of the heart above that of the head.

From the 2023 exhibition The Painter's Hand: U.S. Abstraction since 1950, curated by John Stomberg, Virginia Rice Kelsey 1961s Director

Exhibition History

The Expanding Universe of Postwar Art, Northeast Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 26-April 7, 2019.

The Painter's Hand: U.S. Abstraction since 1950, William B. Jaffe and Evelyn A. Jaffe-Hall Galleries, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, June 3-December 9, 2023.

Publication History

John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 175, ill. plate no. 106.


Yufuku Gallery, Tokyo, Japan; sold to present collection, 2017.

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