Love Accepted,

1965

<em>Love Accepted</em> represents a watershed moment in Jules Olitski’s career. It was produced by spraying acrylic paint onto a canvas, a method with which the artist began to experiment in the same year he created <em>Love Accepted</em>. This innovative technique resulted in equally novel results: a luminous, nearly uninterrupted field of color unencumbered by shape, structure, and line and unbounded by anything save the edges of the canvas. Here, Olitski used the spray gun to alter the pigment’s density and, by extension, its saturation, resulting in subtle chromatic shifts. Aerating the paint also created a host of contradictory effects, imbuing <em>Love Accepted</em> with the immeasurable depth and disembodied tactility of fog.

<em>Love Accepted</em> represents a watershed moment in Jules Olitski’s career. It was produced by spraying acrylic paint onto a canvas, a method with which the artist began to experiment in 1965, the same year he created <em>Love Accepted</em>. This innovative technique resulted in equally innovative results: a luminous, nearly uninterrupted field of color unencumbered by shape, structure, and line and unbounded by anything save the edges of the canvas. Here, Olitski used the spray gun to alter the pigment’s density and, by extension, its saturation, resulting in subtle chromatic shifts. Aerating the paint also created a host of contradictory effects, imbuing <em>Love Accepted</em> with the immeasurable depth and disembodied tactility of fog. Works like <em>Love Accepted</em> culminate nearly a century of experiments with abstract painting, and it was championed by modernists such as Clement Greenberg and Michael Fried for just this reason. No matter how resolute his rejection of illusionism, however, Olitski’s evocative titles suggest a lingering attachment to narrative, especially as it pertains to love, desire, and passion.