Elsa Gramcko (1925-1994)
- Elsa Gramcko
- No. 10
- signed, titled and dated 1958 on the reverse
- oil on canvas
- 54 1/8 by 16 1/4 in.
- 137.1 by 41.2 cm
Alexander Slato, Caracas
Acquired from the above, 1998
São Paulo, Museu de Arte Moderna, V Bienal de São Paulo, Sala Especial, Venezuela, September-December 1959, p. 407, no. 1
Miami, The Patricia & Phillip Frost Art Museum, Florida International University, Embracing Modernity: Venezuelan Geometric Abstraction, October 13, 2010-January 2, 2011, p. 39, illustrated in color
In describing works from this period, Gramcko noted, “I do not consider [these paintings] abstract, they are very much emotive and they contain several pockets of internal meaning. I consider myself an expressive painter.”  The present painting, No. 10, is comprised of a simplified, chromatic pallet. A seemingly structured and formalized composition, it is not an investigation of intertwining, geometric shapes but a suggestion of something more organic and natural: shells, bones, rocks. Included in the fifth edition of the prestigious Bienal de São Paulo in 1959, Gramcko’s No. 10 marks a radical breakthrough in the development of abstraction in Latin America.
 Juan Carlos López Quintero, “Elsa Gramcko: Una Alquimista de Nuestro Tiempo,” 1997, Caracas, (exhibition catalogue), p. 18