Deborah Remington, American, 1930 - 2010



Oil on canvas

Overall: 50 × 36 in. (127 × 91.4 cm)

Hood Museum of Art, Dartmouth: Purchased through Evelyn A. and William B. Jaffe 2015 Fund



Place Made: United States, North America


20th century

Object Name


Research Area


Not on view


I really wanted to work intuitively, but with a structure . . . the structure would be there, imposed, after a lot of the intuitive part was done. --Deborah Remington

Remington spent time in Japan studying calligraphy and brush and ink painting styles, and she later suggested that this early experience prompted her interest in the expressive possibilities of just black, grey, and white. The brightly colored chevron in the center area offers a counterpoint to the more somber palette, much like the bright red “chop” often found in Japanese art. Her ambiguous forms exist in shifting spatial relationships that are hard to pin down.

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

Course History

Studio Art 25.01, Painting I, Enrico Riley, Winter 2023

Studio Art 25.01, Painting I, Daniele Genadry, Summer 2023

Philosophy 1.11, Art: True, Beautiful, Nasty, John Kulvicki, Summer 2023

Philosophy 1.11, Art: True, Beautiful, Nasty, John Kulvicki, Summer 2023

First Year Student Enrichment Program - Cultures, Identities and Belongings, Francine A'Ness, Summer 2023

Exhibition History

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 16, 2023.


Craig F. Starr Gallery, New York, New York; sold to present collection, 2021.

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