Agnes Martin's early artistic period, particularly between 1954 and 1958, marked a significant phase in her career where she explored a biomorphic style, characterized by organic shapes and a light, often ethereal background. This period followed her return to Taos in 1953 after spending time in New York and Oregon. Initially, Martin delved into a surrealist style influenced by automatism—a spontaneous method of drawing without preconceived plans, similar to techniques used by fellow Taos Moderns painters like Beatrice Mandelman and Louis Ribak.
During this time, one of Martin's key works, Untitled (c. 1955), exemplifies this biomorphic approach. The painting features contrasting organic forms that float over a pale background, reflecting influences from Arshile Gorky, whose work Martin likely encountered in New York. This style is evident in Martin's incorporation of free-floating, surreal lines seen in her earlier works, such as in "The Expulsion of Adam and Eve from the Garden of Eden" (c. 1953). The star-like feature in "Untitled" is reminiscent of the abstract, free-form lines in "The Expulsion," showcasing her transition from more literal representations to exploring formlessness (Wikipedia).
This era was also a prolific one for Martin, as evidenced by a 1953 portrait photograph by Mildred Tolbert, which shows several canvases with similar biomorphic features. Unfortunately, many of these early works no longer exist, as Martin often destroyed pieces from before 1957, viewing them as preliminary explorations rather than final expressions of her artistic vision. The few remaining works from this period provide valuable insight into her developmental process and artistic evolution (Wikipedia).
By the late 1950s, Martin's work caught the attention of influential gallery owner Betty Parsons, leading to her first New York exhibition. It was during this time that Martin began transitioning to the grid format that would define her mature style. This shift marked a move towards minimalism and an exploration of perfection and imperfection through highly controlled, repetitive forms. Her biomorphic paintings, particularly those like "Untitled" and "Dancer No. I (L.T.)" from around 1956, played a crucial role in this transition, highlighting her evolving approach to abstraction (Wikipedia).
These early works are significant not only for their aesthetic and thematic qualities but also for how they framed Martin's career trajectory, leading to her later fame and influence in the abstract expressionist and minimalist art movements. The transition from biomorphic forms to grid patterns represents Martin's ongoing quest to express her inner visions and philosophical inquiries through abstract art.
