Untitled
Maker
Robert Lostutter
(American, b. 1939)
DateMarch 1971
MediumWatercolor on wove paper
DimensionsPlate: 24 × 17 in. (61 × 43.2 cm)
Sheet: 30 × 22 1/2 in. (76.2 × 57.2 cm)
Sheet: 30 × 22 1/2 in. (76.2 × 57.2 cm)
Credit LineGift of Arthur Paul
Object number1998.64
Object TypeDrawings
On View
Not on viewRobert Lostutter studied traditional painting and drawing techniques under John Rogers Cox (1915‒1990) at the School of the Art Institute of Chicago (B.F.A. 1963). In the late 1960s and early 1970s he produced psychedelic watercolor drawings of stylish young women (see Smart Museum 1992.43, 1998.64) in the vein of New York Pop artist Richard Lindner (1901‒1978) (see 1980.141). This drawing illustrates his early watercolor technique, originally intended as a preparatory stage in oil painting. However, during the 1970s he abandoned oil painting for watercolors.
The theme of an entrapped figure—usually males constrained by bondage gear, but also by other devices—permeates his early work. In his first mature works Lostutter used his skills as a watercolorist and draughtsman to devise portraits of hybrid bird-men and orchid-men. (See 2001.302, 2004.7, 2001.302.) In these works he took the theme of entrapment in a new direction, using exotic bird plumage to penetrate the figure’s skin, orchids tattooed on the faces of anxious males, and anonymous hands restraining and even invading their bodies. (See 2010.167, 2011.111.) In this regard, Lostutter’s work has commonalities with fellow Chicago Imagist Christina Ramberg, who explored the subject of female bondage in a similarly intense and focused way. (See 2001.661-662.)
The theme of an entrapped figure—usually males constrained by bondage gear, but also by other devices—permeates his early work. In his first mature works Lostutter used his skills as a watercolorist and draughtsman to devise portraits of hybrid bird-men and orchid-men. (See 2001.302, 2004.7, 2001.302.) In these works he took the theme of entrapment in a new direction, using exotic bird plumage to penetrate the figure’s skin, orchids tattooed on the faces of anxious males, and anonymous hands restraining and even invading their bodies. (See 2010.167, 2011.111.) In this regard, Lostutter’s work has commonalities with fellow Chicago Imagist Christina Ramberg, who explored the subject of female bondage in a similarly intense and focused way. (See 2001.661-662.)
