tag archives: painting

 


 

every picture tells a story.

yet, abstract art can also be narrative.

through abstract art, joan mitchell told the story of her feelings, memories, or experiences.  stories of places, or people that she loved.  stories inspired by the arts.  stories inspired by nature.

probably the most exceptional art exhibition to take place in san francisco in years, the joan mitchell retrospective at the san francisco museum of art (sfmoma) lets the pictures tell the stories.

 

joan mitchell

san francisco museum of modern art | san francisco, ca

4 september 2021-17 january 2022

baltimore museum of art | baltimore, md

6 march 2022-14 august 2022

fondation louis vuitton | paris, france

fall 2022

joan mitchell exhibition catalog | by sarah roberts and katy siegel

photo credit sfmoma

 

new york

joan mitchell (1925-1992) | hudson river day line | oil on canvas | 1955

mcnay art museum | san antonio, tx

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | evenings on 73rd street | oil on canvas | 1957

private collection

photo credits lisa walsh | innerspace

 

commuting between new york and paris

 

“i wanted to be sure to reach you;

though my ship was on the way it got caught in some moorings.

i am always tying up and then deciding to depart.” 

to the harbormaster, a poem by mitchell’s friend, frank o’hara (1926-1966), 1957

joan mitchell (1925-1992) | to the harbormaster | oil on canvas | 1957

ars art lp

photo credits lisa walsh | innerspace

 

moving from the city (paris) to the country (vétheuil)

joan mitchell (1925-1992) | my landscape II | oil on canvas | 1967

smithsonian american art museum | washington, dc

photo credits lisa walsh | innerspace

 

sold for hkd 65,261,000 (over usd 8,000,000)

joan mitchell (1925-1992) | untitled | oil on canvas | circa 1967

sotheby’s | hong kong | 9 october 2021 | sale hk1141 | lot 1114

photo credit sotheby’s

 

joan mitchell (1925-1992) | russian easter | oil on canvas | 1967

private collection | liechtenstein

photo credits lisa walsh | innerspace

 

mitchell alternated between either acknowledging or denying the influence of impressionist painter, claude monet (1840-1926), who lived in vétheuil from 1878-1881.

joan mitchell (1925-1992) | sans neige | oil on canvas | 1969

carnegie museum of art | pittsburgh, pa

photo credits lisa walsh | innerspace

 

monet painted over 100 scènes de neige (snow scenes).

claude monet (1840-1926) | frost near vétheuil | oil on canvas | 1880

musee d’orsay | paris, france

photo credit art-monet.com

 

friends

feelings, memories, experiences…

joan mitchell (1925-1992) | salut tom | oil on canvas | 1979

national gallery of art | washington, dc

photo credits lisa walsh | innerspace

 

poetry

someone else’s feelings, memories, or experiences.

 

‘…c’est la peau du dehors qui se retourne et nous absorbe…’

(…the skin of the exterior turns inside out and absorbs us…)

la ligne de la rupture, a poem by mitchell’s friend, jacques dupin (1927-2012), 1971

joan mitchell (1925-1992) | la ligne de la rupture | oil on canvas | 1970-1971

private collection

photo credits lisa walsh | innerspace

 

top:  joan mitchell (1925-1992) | sorbes de la nuit d’été | pastel and ink on paper | 1975

a poem by mitchell’s friend, jacques dupin (1927-2012)

private collection

bottom:  joan mitchell (1925-1992) | blue | pastel and ink on paper | circa 1975

a poem by j j mitchell, a friend who joan mitchell met through frank o’hara (1926-1966)

the museum of modern art | new york, ny

photo credits lisa walsh | innerspace

 

‘we shall have everything we want and there’ll be no more dying

on the pretty plains of in the supper clubs…

ode to joy, a poem by mitchell’s friend, frank o’hara (1926-1966), 1958

 joan mitchell (1925-1992) | ode to joy (a poem by frank o’hara) | oil on canvas | circa 1970-1971

university at buffalo art galleries | buffalo, ny

photo credits lisa walsh | innerspace

 

nature

rejuvenation and plentitude

 joan mitchell (1925-1992) | no rain | oil on canvas | circa 1976

the museum of modern art | new york, ny

photo credits lisa walsh | innerspace

 

mitchell acknowledged the influences of impressionist painters, vincent van gogh (1853-1890) and paul cezanne (1839-1906), who first made an impression upon her during childhood visits to the art institute of chicago.

 vincent van gogh (1853-1890) | rain | oil on canvas | 1889

philadelphia museum of art | philadelphia, pa

photo credit philadelphia museum of art

 

 paul cezanne (1839-1906) | mont sainte-victoire seen from the bibémus quarry | oil on canvas | 1895-1899

baltimore museum of art (bma) | baltimore, md

photo credit bma

 

 joan mitchell (1925-1992) | south | oil on canvas | 1989

fondation louis vuitton | paris, france

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | before, again IV | oil on canvas | 1985

anderson collection at stanford university, california | palo alto, ca

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | marge | oil on canvas | 1990

private collection

photo credits lisa walsh | innerspace

 

sunlowers

joan mitchell (1925-1992) | untitled | oil on canvas | 1992

komal shah and gaurav garg collection

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | sunflower IV | oil on canvas | 1969

williams college museum of art | williamstown, ma

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | also returned | oil on canvas | 1969

private collection

photo credits lisa walsh | innerspace

 

i have also returned (three times) to visit and revisit the the joan mitchell retrospective.

 

joan mitchell: i carry my landscapes around with me

an exhibition of the artist’s panoramic, multi-paneled paintings

at david zwirner gallery in new york, ny

from  3 may-22 june 2019

 

front gallery | david zwirner | new york, NY

photo credit lisa walsh | innerspace

 

from ‘to joan mitchell’

 

‘…like her great canvas

in four panels,

continuous field so charged

as to fill the room in which it hangs

with an inaudible humming,

as if to erase the gallery over which it triumphs…’

-from ‘to joan mitchell’, a poem from ‘fire to fire: new and selected poems by mark doty

 

joan mitchell (1925-1992) | la seine | oil on canvas in four (4) parts | 1967

governor nelson a. rockefeller empire state plaza art collection, new york state, office of general services

one of mitchell’s first quadriptychs

photo credits lisa walsh | innerspace

 

in 1968, joan mitchell moved her primary studio from the city of paris to the french countryside.

 

‘with the move to vétheuil, joan’s paintings had grown larger, more expansive, and more often multi-paneled. 

at [rue] fremicourt [her studio in paris from 1958-1968] she had first become serious about diptychs and triptychs as a way of making large paintings in a small studio. 

bigger but never big enough, vétheuil could accommodate at most two moderately sized adjacent panels, no higher than nine feet two inches, however; because of the ceiling beams.

…the restrictions on width meant that she could not view large multi-paneled paintings-in-progress in their entirety but, rather, had to put the parts together in her mind.’

-from joan mitchell, lady painter by patricia albers (page 326)

 

joan mitchell (1925-1992) | rivière | oil on canvas in two (2) parts | 1990

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | minnesota | oil on canvas in four (4) parts | 1980

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

‘in the dyptychs and triptychs she grappled with likeness and difference,

wholeness and parts. 

moreover, the panels served as forms to go up against,

like stanzas in lyric poetry,

which also weds structure to emotional release.’

-from joan mitchell, lady painter by patricia albers (page 326)

 

joan mitchell (1925-1992) | untitled | oil on canvas in two (2) parts | 1972

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

‘joan’s favorite multi-panel format was the horizontal triptych composed of vertical modules;

she loved the way the cool vertical cuts between the panels undermined the landscape effect

and loved too everything she could make happen around those vertical cuts.’ 

 

‘unlike most artists, joan drew vertically, making use of the weight and drag mark of her hand.’

-from joan mitchell, lady painter by patricia albers (pages 326 and 357)

 

joan mitchell (1925-1992) | untitled | oil on canvas in three (3) parts | 1974-1975

private collection, minneapolis, MN

photo credits lisa walsh | innerspace

 

north gallery | david zwirner | new york, NY

photo credit lisa walsh | innerspace

 

in addition to her unusual technique, joan was not only eidetic, but also synesthetic, which affected her memory, her perception, and therefore her art.

she saw letters in color.  so, her perception of poetry was visual, as well as narrative.

she heard sounds in color.  so, she painted to classical or jazz music.

even people (or pets) emanated color.  so, when painting an homage to a loved one, such as her former psychoanalyst and long-time friend, edrita fried (1911-1981), she strategically selected the appropriate colors.

 

‘for the analyst’s daughter, jacqueline fried, in any case, the painting’s oranges nail her mother’s energy and rage, and its blues, her profound sadness. 

‘edrita fried’ appeared in the 1983 whitney biennial, which jaqui attended. 

when the museum’s elevator doors opened to reveal this twenty-six-foot-wide painting,

jaqui jumped, ‘because it was as if my mother were standing there…it was really my mother!’

-from joan mitchell: lady painter by patricia albers (page 367)

 

joan mitchell (1925-1992) | edrita fried | oil on canvas in four (4) parts | 1981

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | row row | oil on canvas in two (2) parts | 1982

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | untitled | oil on canvas in two (2) parts | 1992

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

her ‘photographic memory’ was not only visual, but also auditory, sensual, and emotional, not unlike virtual reality.

sometimes, she painted in cycles, from memories of the seine river, rivers and trees, fields and territories, or sunflowers.

 

joan mitchell (1925-1992) | sunflowers | oil on canvas in two (2) parts | 1991

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

‘i carry my landscapes around with me.

-joan mitchell (1925-1992)

-from mitchell paints a picture‘, an article from artnews by irving sandler, originally published in october 1957
click here to read the article

 

david hockney: something new in painting (and photography) [and even printing]

5 april-12 may 2018

pace gallery | 508-510 west 25th street | new york, NY

 

british artist, david hockney RA, is known for playing with perspective.  recently, reverse perspective.  and recently, manipulating the picture plane by adding corners.  hockney thinks that reverse perspective simulates our depth perception more closely than one point perspective.  and, that a hexagon simulates our field of vision more closely than a rectangle.

 

‘the indentations paradoxically widen the sense of space and invite all sorts of fresh lines of sight.

still, though, as you can see, far from cutting corners, i was adding them.’

-david hockney

 

detail | david hockney | the studio, december 2017 | 2017 | photographic drawing printed on seven sheets of paper, mounted on seven sheets of dibond

artwork: (c) 2018 david hockney photo credit: lisa walsh | innerspace

 

the subject of some of the hexagonal paintings are ‘david hockney’s greatest hits’.  the grand canyonnichols canyon, which was once en route from his home to his studio in los angeles, CA.  garrowby hill and the countryside surrounding his former home in yorkshire, united kingdom.

david hockney | grand canyon II | 2017 | acrylic on canvas

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

 

david hockney | nichols canyon II | 2017 | acrylic and black ink on canvas

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

 

david hockney | garrowby hill | 2017 | acrylic on canvas

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

 

masterpieces, such as the avenue at middelharnis (1689), a dutch golden age landscape painting by meindert hobbema, or the annunciation (1438-1445), an early renaissance fresco by fra angelico, provide the subjects for other paintings.

david hockney | tall dutch trees after hobbema (useful knowledge) | 2017 | acrylic on six canvases

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

 

hockney is also known for experimenting with optical technology.  most recently, agisoft photoscan software that performs photogrammetric processing of digital images and generates three dimensional spatial data.

in addition to 17 paintings, the pace gallery exhibition features two, seven panel, floor to ceiling photomurals created with agisoft photoscan.  for each photomural, the software combined over 3000 photographs, shot from multiple camera angles, and processed them into one three dimensional image.  then, hockney and his assistant manipulated the image.  and then, they digitally printed and mounted the photomural.

david hockney | the studio, december 2017 | 2017 | photographic drawing printed on seven sheets of paper, mounted on seven sheets of dibond

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

 

david hockney | inside it opens up as well | 2018 | photographic drawing printed on 7 sheets of paper, mounted on 7 sheets of dibond

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

 

‘i haven’t yet quite figured out what to call the whole process, or for that matter its result.

it’s a combination of photography and drawing and printing, each bringing out the best in the other.’

-david hockney

 

you could call the whole process a success.  especially, considering that hockney originally only intended to take documentary photographs to use in the exhibition announcement before the paintings left his studio.

invitation to the opening reception | 5 april 2018

photo credit via new york social diary

 

click here, here, and here to read my previous posts about david hockney.

click here to read the essay, written by lawrence weschler for the exhibition catalogue.

 

*cy twombly: coronation of sesostris

8 march-28 april 2018

gagosian | 980 madison avenue | new york, NY

 

the mythological one day rise and fall of ancient egyptian warrior, conqueror, and pharaoh , sesostris.

drawn, painted, and written in 10 parts.

cy twombly: coronation of sesostris

installation view | gagosian | 980 madison avenue | new york, NY

photo credit rob mckeever via gagosian

 

the rising sun [an ideogram for sesostris]

 

cy twombly (1928-2011) | coronation of sesostris | panel 1 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the wheeled chariot of sesotris [an ideogram for military conquest]

 

cy twombly (1928-2011) | coronation of sesostris | panel 2 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the epigraph:

‘eros, weaver [of myth],

eros, sweet and bitter,

eros bringer of pain.’ 

 

cy twombly (1928-2011) | coronation of sesostris | panel 3 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the shining sun after rising high into the sky

 

cy twombly (1928-2011)  | coronation of sesostris | panel 4 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the arrival of the solar barque [sun barge or sun boat] of sesostris

 

cy twombly (1928-2011) | coronation of sesostris | panel 5 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

an interpretation of the poem ‘when the gods depart’

 

cy twombly (1928-2011) | coronation of sesostris | panel 6 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the sun boat burns and disintegrates

 

cy twombly (1928-2011) | coronation of sesostris | panel 7 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the sun boat dissolves into its reflection, and sinks into the sea [an allusion to j.w.m. turner (1775-1851)]

‘they (the gods) are leaving,

glorious but unheeded,

as the mortal body sinks into oblivion,

scarcely registering their passing. 

nunc est bibendum: 

sorrows are drowned,

the boat is a drunken boat.’ [barely legible]

 

cy twombly (1928-2011)  | coronation of sesostris | panel 8 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the burnt wreckage of the sun boat

‘leaving paphos ringed with waves’

 

cy twombly (1928-2011) | coronation of sesostris | panel 9 | 2000 | Acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the epigraph, repeated:

‘leaving kypros the lovely

and paphos ringed with waves.’ [illegible]

 ‘eros, weaver of myth,

eros sweet and bitter,

eros bringer of pain.’

 

cy twombly (1928-2011) | coronation of sesostris | panel 10 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

*exhibited concurrently with cy twombly: in beauty it is finished at gagosian | 522 west 21st street | new york, NY.

click here to read my post about cy twombly: in beauty it is finished.

click here to read a tate museum research publication about coronation of sesostris.

art exhibitions, like the cy twombly exhibition of 94 drawings and works on paper at gagosian gallery in new york, can be more momentous than blockbuster museum exhibitions.

 

*cy twombly:  in beauty it is finished : drawings 1951-2008

8 march-25 april 2018

gagosian | 522 west 21st street | new york, NY


i walked through the exhibition three times.  and then, after i left, i decided to return to look at my favorite drawings again…

one wall, featuring five early, atypically polychromatic, crayon, gouache, and pencil drawings.

cy twombly: in beauty it is finished : drawings 1951-2008

installation view | gagosian | 522 west 21st street | new york, NY

photo credit artwork: © cy twombly foundation | screenshot: video by pushpin films via gagosian quarterly

 

originally, there were six drawings.  twombly gifted four of the six drawings to his friend, abstract artist robert rauschenberg (1925-2008).  then, rauschenberg adhered one of the drawings to one of his combines.

robert rauschenberg (1925-2008) | rhebus | 1955 | oil, synthetic polymer paint, pencil, crayon, pastel, cut-and-pasted printed and painted papers, and fabric on canvas mounted and stapled to fabric, in three panels

museum of modern art (moma) | new york, NY

photo credit (c) 2018 robert rauschenberg foundation via moma

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

cy twombly foundation | new york, NY, rome, italy & gaeta, italy

photo credit (c) cy twombly foundation via gagosian

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

cy twombly foundation | new york, NY, rome, italy & gaeta, italy

photo credit (c) cy twombly foundation via cy twombly foundation

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

museum of modern art (moma) | new york, NY

photo credit (c) 2018 cy twombly foundation via moma

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

museum of modern art (moma) | new york, NY

photo credit (c) 2018 cy twombly foundation via moma

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

museum of modern art (moma) | new york, NY

photo credit (c) 2018 cy twombly foundation via moma

 

the five drawings reminded me of pastel drawings by abstract expressionist artist joan mitchell (1925-1992).

joan mitchell (1925-1992) | untitled | 1991 | pastel on paper

sold for US$98,500 | christie’s new york | post war and contemporary morning session | 11 november 2010 | sale 2356 | lot 235

photo credit christie’s

 

one gallery was filled with calligraphy drawings.  not only calligraphic, but also epigraphic.

cy twombly: in beauty it is finished : drawings 1951-2008

installation view | gagosian | 522 west 21st street | new york, NY

photo credit rob mckeever via gagosian

 

including, one work in 30 parts.  and, 4 drawings from a private collection.

cy twombly (1928-2011) | untitled | 1970 | oil, wax crayon, and pencil on paper, in 30 parts

cy twombly foundation | new york, NY, rome, italy & gaeta, italy

photo credit artwork: © cy twombly foundation | screenshot: video by pushpin films via gagosian quarterly

 

cy twombly (1928-2011) | untitled | 1970 | oil and wax crayon on paper

private collection

photo credit (c) cy twombly foundation via gagosian

 

another gallery was filled with blackboard drawings.

cy twombly: in beauty it is finished : drawings 1951-2008

installation view | gagosian | 522 west 21st street | new york, NY

photo credit rob mckeever via gagosian

 

layer upon layer of lines, marks, and erasures.  made with crayon, pencil, or pen over oil on paper.

cy twombly (1928-2011) | untitled | 1969 | oil and wax crayon on paper

cy twombly foundation | new york, NY, rome, italy & gaeta, italy

photo credit (c) cy twombly foundation via gagosian

 

‘his work is based not upon concept (the trace)

but rather upon an activity (tracing).’

-french philoopher, roland barthes (1915-1980), who wrote about the work of cy twombly

 

*exhibited concurrently with cy twombly: coronation of sesostris at gagosian | 980 madison avenue | new york, NY.

click here to read my post about cy twombly: coronation of sesostris.