Cardinal Three

Herbert Lust’s analysis of this work can be found in Robert Indiana Works from the Collection of Herbert Lust where he wrote: “The Cardinal Three must rank among Bob’s most exciting designs. His communicative power is so great in this painting, that he effectively humanizes a number while keeping the digit in its original form. The shape of the Cardinal Three resembles two spread arms, reaching out to embrace the world. He bestows a number with human qualities that make it feel like a figure walking off into the wild blue yonder. This Cardinal Three is the number series answer to the celebrated Hug painting. The top and bottom curves of the number three are the two arms reaching out to embrace. The Cardinal Three’s middle bulge strolls out like the human head. There is no number painting more beautiful than this Cardinal Three. It harmonizes the adult with the child in dazzling colors. There is a special meaning to the Cardinal Three, the most evident one is the urge to start. ‘one for the money. two for the show, and three to get ready…’ Ready? For what? To hug, to embrace” (H. Lust, quoted in Robert Indiana: Works from the Collection of Herbert Lust, New York, 2017, p. 88).

In 1964, Robert Indiana was the only American artist to be included in the exhibition, Group Zero, at the Institute of Contemporary Art in Philadelphia, the first major United States museum show of the international art movement founded by Otto Piene and Günther Uecker. Although Indiana is not affiliated with the movement, he and Uecker went on to become friends and later exchanged artworks in the late 1960s. Indiana gifted Cardinal Three to Uecker in exchange for an iconic nail relief, representing their relationship of reciprocity, respect and admiration.