Instead
of flat
planes, however, each
plane of color is comprised
of compacted small strokes
of various
colors weighted to a
particular hue, like the fire - like brushstrokes in Pissarro's late paintings, or the compacted myriad
of little strokes in pre-Renaissance tempera panels.
Gottlieb first used this vast, horizontal format in 1960 allowing his minimal, graphic language to stretch across the picture
plane; he explains, «I eliminated almost everything from my painting except a few
colors and perhaps two or three shapes, I feel a necessity for making the
particular colors that I use, or the
particular shapes, carry the burden
of everything that I want to express, and all has to be concentrated within these few elements.»