All Alone In The Museum Of Modern Art
All Alone In The Museum Of Modern Art
Signed Print
Howard Hodgkin
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Etching
Edition size: 100
Year: 1979
Size: H 75cm x W 98cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2014 | Christie's New York | United States | |||
| June 2004 | Bonhams New Bond Street | United Kingdom |
Meaning & Analysis
This signed etching from 1979 is a limited edition of 100 from Howard Hodgkin’s In the Museum of Modern Art series. The horizontal print presents to the viewer an abstract representation, perhaps a window scene, perhaps a view of an interior space, and is dominated by dark, monochromatic hues – predominantly black, grey and sepia tones.
All Alone In The Museum of Modern Art is one of Hodgkin’s most interesting and surprising works. Known for his vibrant, exuberant and colourful abstract landscapes, Hodgkin departs from colour in this print, privileging instead dark, sombre tones that, together, suggest a feeling of unrest and unease, further evoked by the title of the work.
It is in this work, and the series of prints it sits within, that Hodgkin expressed for the first time his full array of emotional complexity. While the image itself does not lend itself to easy readings, the work of the print locates the image within the Museum of Modern Art of New York (MoMA). It is there, in the enclosed doors of the museum, surrounded by his favourite artists, Hodgkin liked to recount, that the artist remembers spending countless evenings and afternoons.
During World War II, then still a child, Hodgkin and his family fled the United Kingdom and sought refuge from the atrocities of the war in Long Island, where they lived until the end of the war. While the experience marked Hodgkin’s infancy, the familiar walls of MoMA gave the young artist solace and repair, effectively contributing to his interest in art. This print, with its disquieting hues, conveys with intensity this memory of his infancy, defined both by dispossession and solace.
