- Solid gray painting "Bob Dylan" - "The Dylan Painting".
- "The Grey Paintings". Luminous monochromes, Each grey, but each different, variously tinged with tones of silver, green, yellow, and plum. Seductively smooth and strangely matte, because he used beeswax to his oil paint and turpentine.
- Marden's "D'apres la Marquise de la Solana" inspired by Goya's portrait fo the pert lavishly gowned aristocrat standing on and in front of an ambiguous play of shadowy grey. Marden distilled the basic elements of the image into slab-like planes os grey green (background), grey-grey (Garments), and grayed pink (flesh). A collage spells it out juxtaposing three postcards of the Goya with three rectangles of graphite built into hard shiny planes.
- Blue green group "Gove Series". Severely reduced seascapes.
- Then graduated to making drawing marks on canvas.
- Basically Marden was making visible, through line, the gestures by which he had previously layered his paint on to his monochrome surfaces.
- As Marden’s abstractions progress from one idea of structure, proportion, color, light and surface to another, his trajectory encompasses a tremendous range of physical and emotional energy and gives the lie to the idea that any art can be purely formal or completely abstract.
- "The Grey Paintings". Luminous monochromes, Each grey, but each different, variously tinged with tones of silver, green, yellow, and plum. Seductively smooth and strangely matte, because he used beeswax to his oil paint and turpentine.
- Marden's "D'apres la Marquise de la Solana" inspired by Goya's portrait fo the pert lavishly gowned aristocrat standing on and in front of an ambiguous play of shadowy grey. Marden distilled the basic elements of the image into slab-like planes os grey green (background), grey-grey (Garments), and grayed pink (flesh). A collage spells it out juxtaposing three postcards of the Goya with three rectangles of graphite built into hard shiny planes.
- Blue green group "Gove Series". Severely reduced seascapes.
- Then graduated to making drawing marks on canvas.
- Basically Marden was making visible, through line, the gestures by which he had previously layered his paint on to his monochrome surfaces.
- As Marden’s abstractions progress from one idea of structure, proportion, color, light and surface to another, his trajectory encompasses a tremendous range of physical and emotional energy and gives the lie to the idea that any art can be purely formal or completely abstract.
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