{"secondaryobjectnumber":null,"periodterms":[],"creditline":"Gift of Dasha Shenkman, in memory of Meir Z. Ribalow, Class of 1970","caption":"Jules Olitski (American, born Russia, 1922–2007), Love Accepted, 1965. Acrylic on canvas; 142.2 x 48.3 cm, 144.8 x 52.1 x 4.1 cm (frame). Gift of Dasha Shenkman, in memory of Meir Z. 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Acrylic on canvas; 142.2 x 48.3 cm, 144.8 x 52.1 x 4.1 cm (frame). Gift of Dasha Shenkman, in memory of Meir Z. Ribalow, Class of 1970 (2013-1)","displaydate":"1965","medium":"Acrylic on canvas","media":[{"id":105616,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/2013-1","isprimary":1,"rank":1,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":"Restricted","caption":"Bruce White Photography"}],"displayperiod":null,"extended_content":false,"campuscollections":"false","bibliography":[{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013)","citation":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013), p. 275","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"\"Acquisitions of the Princeton University Art Museum 2013,\"<em>&nbsp;Record of the Princeton University Art Museum</em> 73 (2014): p. 37-64.","citation":"\"Acquisitions of the Princeton University Art Museum 2013,\"<em>&nbsp;Record of the Princeton University Art Museum</em> 73 (2014): p. 37-64., p. 52","date":2014,"id":2980,"uri":"https://search.worldcat.org/title/61312705"}],"nowebuse":"False","periods":[],"department":"Modern and Contemporary Art","attribute_groups":[{"id":2199324,"term":"Art Since 1945","termtype":"Collecting Area"},{"id":2199325,"term":"North American Art","termtype":"Collecting Area"}],"daterange":"A.D. 1945-present","dateend":1965,"depicted":[],"titles":[{"title":"Love Accepted","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"Art © Estate of Jules Olitski / Licensed by VAGA, New York, NY","objectnumber":"2013-1","inscribed":"In crayon(?) on verso: Top [an up arrow] / 1965 / 56\" x 19\" / Love Accepted / Jules Olitski / Acrylic / (water base)","texts":[{"texttype":"Online","textpurpose":"Didactics","textentryhtml":"<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 <I>Love Accepted</I>. 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.","remarks":null},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\n<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 <I>Love Accepted</I>. 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 <I>Love Accepted</I> with the immeasurable depth and disembodied tactility of fog. Works like <I>Love Accepted</I> 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. </P></SPAN>","remarks":null},{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"<span lang=\"EN\"><p align=\"LEFT\" dir=\"LTR\"><em>Love Accepted </em>represents a watershed moment in Olitski’s career. <span lang=\"EN\">In 1965 the artist began experimenting with spraying acrylic paint onto canvas. This innovative technique resulted in equally groundbreaking results: luminous, nearly uninterrupted fields of color unencumbered by shapes, structures, or lines, 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 the canvas with the immeasurable depth and disembodied tactility of fog. </span></p></span>","remarks":"PBL rotation January 2019, MM rotation July 2018"},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Dasha Shenkman, London, England, gift; to Princeton University Art Museum, 2013.","remarks":null}],"datebegin":1965,"sortnumber":"2013    1","published_date":"2026-05-13 02:01:06.264577","objectid":85504,"dimensions":"142.2 x 48.3 cm. (56 x 19 in.)\r\nframe: 144.8 x 52.1 x 4.1 cm. (57 x 20 1/2 x 1 5/8 in.)","on_view":false}