Sam Gilliam

American, 1933 - 2022

Sam Gilliam arrived in Washington, DC, in 1962, and immersed himself in the artistic community. Associated with the Washington Color School and inspired by color field painting, he developed the distinctive style of lyrical abstraction.

Gilliam challenged conventional ideas about artistic form. His groundbreaking “drape” paintings, in which the canvas hangs from ceilings or walls like fabric, were a significant contribution to contemporary art. In 1972, he became the first African American artist to represent the United States at the Venice Biennale.

As an African American artist during the 1960s, Gilliam faced criticism for not overtly addressing political and social issues in his abstract works. But he was committed to abstraction and to pushing the boundaries of artistic expression.

Explore selected works

See all 24 works of art
This painting is filled with textured splatters of vibrant colors. The orange and yellow hues which take up most of the image are interrupted by splashes of pink, green, blue, purple, and red. There is a splatter of deep blue near the upper-left corner, and towards the lower right there is a patch of bright green.
Sam Gilliam, Yellow Edge, 1972, acrylic on canvas, Gift of Elinor K. Farquhar, 2023.17.1

Yellow Edge

Sam Gilliam · 1972 · acrylic on canvas ·  Accession ID  2023.17.1
This painted canvas hangs on the wall loosely from four gathered peaks—one peak on each end to the left and right, and two peaks evenly spaced in between. The fabric is tightly wrapped with a leather cord into a fist-like form to create each peak, except for the right-most peak, where the fabric is knotted. The canvas is stained with large areas of soft color that largely meld together, with mostly pink, peach, and yellow to the left that transitions to violet, turquoise, and sky blue to the right. Hard-edged, vivid orange streaks break through the blues and greens to the right.
Sam Gilliam, Relative, 1968, acrylic on canvas, Anonymous Gift, 1994.39.1

Relative

Sam Gilliam · 1968 · acrylic on canvas ·  Accession ID  1994.39.1
The image displays overlapped curved shapes and angular lines in a dynamic composition. Various textures and colors are used, including red and yellow stripes, a large silver-gray shape, hints of blue and turquoise, and other shapes and patterns in orange and brown.
Sam Gilliam, Wayne Crothers, Experimental Printmaking Institute, Untitled, 2004, cut and sewn color relief prints on wove paper, fabric, and felt, Gift of Jon D. Smith, Jr., Harold and Janet Tague, and Riley Temple, 2008.82.1.3

Untitled

Sam Gilliam, Wayne Crothers, Experimental Printmaking Institute · 2004 · cut and sewn color relief prints on wove paper, fabric, and felt ·  Accession ID  2008.82.1.3
This is a photograph of a blue portfolio cover with silver text. The cover is blue with white or light gray text reading: "MASTER ARTISTS MASTER PRINTMAKERS PORTFOLIO".
Various Artists, Richard Anuszkiewicz, David C. Driskell, Sam Gilliam, Faith Ringgold, Curlee Raven Holton, John Phillips, Robert Beckman, Ian Short, Wayne Crothers, Emma Amos, Grace Hartigan, Bodo Korsig, Kay WalkingStick, John Dowell, Allan Edmunds, Quentin Mosley, Experimental Printmaking Institute, Master Artists Master Printmakers, 2003 - 2004, portfolio of fifteen prints with two title pages, two colophons, and one photo-documentation page, Gift of Jon D. Smith, Jr., Harold and Janet Tague, and Riley Temple, 2008.82.1.1-15

Master Artists Master Printmakers

Various Artists, Richard Anuszkiewicz, David C. Driskell, Sam Gilliam, Faith Ringgold, Curlee Raven Holton, John Phillips, Robert Beckman, Ian Short, Wayne Crothers, Emma Amos, Grace Hartigan, Bodo Korsig, Kay WalkingStick, John Dowell, Allan Edmunds, Quentin Mosley, Experimental Printmaking Institute · 2003 - 2004 · portfolio of fifteen prints with two title pages, two colophons, and one photo-documentation page ·  Accession ID  2008.82.1.1-15
The image depicts sharp, angular shapes and expressive lines arranged in an abstract composition. The shapes are adorned with a vibrant array of colors blending together. The background features sweeping curves and a smooth gradient.
Sam Gilliam, Lou Stovall, The Workshop, Inc., ARS, 2003, color screenprint on wove paper, Gift of Lou and Di Stovall, 2003.112.1

ARS

Sam Gilliam, Lou Stovall, The Workshop, Inc. · 2003 · color screenprint on wove paper ·  Accession ID  2003.112.1
The artwork features a composition of abstract shapes and lines. It includes geometric forms such as rectangles and triangles, interspersed with wavy patterns in colors like red, yellow, and purple. The top section has a blend of swirling lines in purple and yellow, while the center includes a bright yellow square. The lower section is filled with red and orange stripes.
Sam Gilliam, Lou Stovall, Corcoran Gallery of Art, Niagara on the Potomac, 1995, color screenprint on Rising wove paper, Corcoran Collection (Gift of the artist), 2015.19.3017

Niagara on the Potomac

Sam Gilliam, Lou Stovall, Corcoran Gallery of Art · 1995 · color screenprint on Rising wove paper ·  Accession ID  2015.19.3017
The image shows a dynamic composition of overlapping shapes and lines creating an intricate abstract pattern. Sweeping arcs and diagonal streaks cross the canvas, with vibrant hues of yellow, blue, and red. The arrangement of lines suggests movement, intersecting and blending into patches of color, reflecting abstract expressionism.
Sam Gilliam, Robert Franklin, Brandywine Workshop and Archives, Pretty Boxes, 1993, color offset lithograph and screenprint on four joined sheets of wove Arches paper, Gift of Funds from the Roy Lichtenstein Foundation, 2023.22.16

Pretty Boxes

Sam Gilliam, Robert Franklin, Brandywine Workshop and Archives · 1993 · color offset lithograph and screenprint on four joined sheets of wove Arches paper ·  Accession ID  2023.22.16
The image displays interwoven shapes and curves in an abstract design. Swirling ribbons twist and layer over each other, with pointed triangular forms and looping arcs. The colors range from purples and reds to greens and blues, creating the impression of a lively tapestry or dynamic sculpture in motion. The composition implies a harmonious melding of forms, resembling a cascade of waves or an array of leaves.
Sam Gilliam, Horizon Squeeze in the Sky, 1991, acrylic on canvas and enamel on metal construction on wood panel, with draped polypropylene, Gift of Doctor John and Donna D. Fraiche and Fraiche/Blood Families, 2025.6.1

Horizon Squeeze in the Sky

Sam Gilliam · 1991 · acrylic on canvas and enamel on metal construction on wood panel, with draped polypropylene ·  Accession ID  2025.6.1
The image features a composition of overlapping curved and linear shapes. There is an abstract use of color in different sections. The shapes include a large gray semi-circle intersecting with a bright yellow arc. A bold red, spear-like shape cuts diagonally across. These abstract elements come together to create a scene.
Sam Gilliam, In Celebration, 1987, 35-color screenprint on heavy wove paper, Gift of the Smithsonian Resident Associate Program, 1987.46.1

In Celebration

Sam Gilliam · 1987 · 35-color screenprint on heavy wove paper ·  Accession ID  1987.46.1
This print shows a complex pattern of colorful shapes, lines, dots, and splatters. The background of the composition appears to be a bright, vibrant yellow, although the other colors are layered over it in many places. The splatters and splashes of color are predominantly in shades of bright red, pastel yellow, pale green, light blue, teal, light pink, light orange, and cream. These colors are all across the print, overlapping with one another in different abstract shapes.
Sam Gilliam, Brandywine Workshop and Archives, Wissahickon, 1975, color screenprint on wove paper, Gift of Funds from the Roy Lichtenstein Foundation, 2023.22.17

Wissahickon

Sam Gilliam, Brandywine Workshop and Archives · 1975 · color screenprint on wove paper ·  Accession ID  2023.22.17

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